Israel secured a momentous achievement on the international stage as Yuval Refael captured the hearts of millions across Europe with a commanding performance in the Eurovision Grand Final, earning a celebrated second-place finish. This historic result was underscored by Refael’s remarkable success in the public vote, amassing more than twice the number of points of her nearest competitor and signifying a clear resonance among viewers continent-wide, according to official Eurovision data and broadcaster reports on the night of the competition. The widespread public approval emerged as a testament not only to Refael’s talent but also to the capacity of Israeli culture to bridge divides and generate broad-based appreciation within international forums that are often subject to political tensions and contestations.
The Eurovision Song Contest, conceived in the wake of the Second World War as a project to foster unity and creative exchange across a ravaged continent, stands as one of the world’s most-watched non-sporting television events, with recent editions attracting audiences exceeding 180 million viewers, according to the European Broadcasting Union (EBU). Israel’s participation in Eurovision—since its debut in 1973—has been a recurring exercise in both cultural diplomacy and artistic innovation. While Eurovision is formally apolitical, it has routinely mirrored the shifting dynamics of European and Middle Eastern geopolitics, with voting patterns, live performances, and public debates often colored by broader events. Against this backdrop, Israel’s second place at the 2025 edition marks a significant instance of public embrace, achieved against the backdrop of ongoing regional tensions and persistent campaigns aimed at boycotting Israeli performers. Israeli government officials and international cultural commentators alike underscored the symbolic resonance of the achievement, interpreting it as an affirmation of Israel’s enduring place within Europe’s cultural conversation despite ongoing challenges in the realm of diplomacy and security.
Yuval Refael’s journey to the Eurovision final was shaped by both artistic rigor and the unique pressures facing Israeli representatives abroad. As official statements from the Israeli Public Broadcasting Corporation (KAN) highlighted in the buildup to the contest, the process of selection for Israel’s artist is a thorough, months-long endeavor involving public competitions, industry input, and extensive artistic preparation. The Grand Final itself was broadcast live across Europe, with voting split between national juries—drawn from the music industry—and the public, whose collective preference elevated Refael far above her competitors. Media coverage from outlets such as Reuters, the BBC, and Israel’s Yedioth Ahronoth pointed to Refael’s compelling stage presence and vocal prowess, which drew particular acclaim on social media and from critics in major music publications. Notably, official results revealed Refael received more than twice the number of points allocated to the third-place act in the public vote, a rare feat in Eurovision history that has typically seen tight contests among the frontrunners.
The significance of Refael’s result transcends her individual accomplishment, shining a spotlight on the broader phenomenon of Israeli cultural engagement with Europe and the West. Success at Eurovision provides Israel—notwithstanding its geographic locale outside continental Europe—with a highly visible role in a unifying, pan-European popular tradition. Over the decades, Israeli entries have won the competition multiple times—most recently, Netta Barzilai’s 2018 victory—and frequently finished near the top, demonstrating sustained excellence and resilience amid recurring calls to exclude Israel on political grounds. Official responses from the Israeli Prime Minister’s Office and the Ministry of Culture described Refael’s achievement as a source of “national pride and proof of the power of culture to transcend barriers,” while also noting that Israel’s presence on such stages asserts its identity as a vibrant democracy committed to artistic freedom and pluralism. This framing echoes similar sentiments expressed by Western leaders in support of Israel’s right to participate fully in international institutions and cultural events, despite ongoing efforts by Iran-backed and affiliated groups to isolate the country in global forums.
Eurovision’s evolving landscape has, in recent years, become a flashpoint for the intensification of anti-Israel activism, particularly through efforts by so-called “boycott, divestment, and sanctions” (BDS) movements and their supporters to pressure artists, jurors, and broadcasters. Reports from the European Jewish Congress and research by UK-based watchdog organizations have documented sustained lobbying campaigns targeting Israel’s cultural events, often accompanied by rhetoric that conflates political disputes with calls to erase Israeli cultural contributions. Notwithstanding these efforts, official data released by the EBU confirmed that Israeli public and jury votes remained fully integrated into the broader tally, and that Refael was able to perform without disruption following reaffirmed commitments from contest organizers to uphold their non-discrimination policies and guarantee artist safety. The warm reception accorded Refael by international viewers was widely interpreted by Israeli officials and pro-Western cultural commentators as a repudiation of isolationist efforts, and as evidence that cultural merit and shared values can prevail even in periods of heightened political discord.
The political context of Israel’s participation in this year’s contest could not be divorced from the realities facing the country and its citizens. Since the October 7, 2023 massacre perpetrated by Hamas terrorists—widely recognized as the deadliest anti-Jewish atrocity since the Holocaust—Israel and its allies have confronted a renewed wave of violence, regional hostilities, and a parallel global campaign of antisemitic agitation. The Israeli government’s ongoing war against Iranian-backed terror networks, including Hamas in Gaza, Hezbollah in Lebanon, and affiliated groups in Syria, Iraq, and Yemen, has continued to reverberate across Western and Middle Eastern capitals. Israeli spokespeople, in public statements prior to Eurovision, acknowledged the heightened sense of solidarity and symbolism accompanying any international gathering, underscoring that every public demonstration of support for Israeli artists is inevitably read against the backdrop of a larger struggle for legitimacy, security, and acceptance.
The historical arc of Israel’s engagement with Eurovision offers a window into the broader dynamics of its integration into Western cultural life. From the country’s first triumph in 1978 to subsequent victories and memorable performances, Israeli artists have portrayed themes of national renewal, resilience, and diversity—a reflection of Israel’s unique demographic and social composition as a democracy open to immigrants from across the globe. Israel’s Eurovision delegations have reliably included performers representing diverse backgrounds and traditions, drawing from the country’s robust music and arts scene, which has thrived despite decades of conventional and unconventional warfare imposed by hostile actors. Official statements from the Israeli Ministry of Foreign Affairs regularly emphasize such achievements as contributions to the cultural life of humanity as a whole and as evidence of Israel’s ongoing commitment to coexistence, modernity, and peace, echoing core Western values.
The practical implications of Israeli advancement in high-profile cultural competitions extend beyond issues of prestige and soft power. Analysts from Western think tanks, such as the Atlantic Council and the European Council on Foreign Relations, note that international cultural and sporting successes bolster Israel’s position within multilateral institutions and reinforce its relationships with allies across Europe, North America, and the wider democratic world. Coverage in Western media highlighted the outpouring of positive reaction from diaspora Jewish communities and pro-Israel advocacy groups, who described Refael’s achievement as a timely antidote to the increasing normalization of antisemitism in contemporary European life—including the proliferation of anti-Israel discourse on social media and at public protests.
The domestic response within Israel was characterized by widespread celebration and pride, with public gatherings reported in Tel Aviv and Jerusalem. National television coverage, corroborated by independent outlets such as Channel 12 and the Jerusalem Post, showed crowds waving national flags and chanting in support of Refael, who became an instant cultural icon. Government ministers and senior figures, including Prime Minister Benjamin Netanyahu and President Isaac Herzog, issued statements congratulating Refael and praising her for representing “the very best of Israeli creativity and spirit on an international stage.” Meanwhile, former officials and cultural critics recalled episodes from prior Eurovision contests, drawing parallels to the complex climate of the late 1970s and early 1980s when Israeli victories coincided with periods of escalating regional tensions. Such comparisons reinforced the point that Israel’s cultural ambassadors routinely operate in settings imbued with significance far beyond the purely artistic.
International reaction to Israel’s Eurovision performance was largely positive, with congratulatory statements from numerous European governments and major Western outlets. Independent analysts noted that despite efforts by certain fringe groups to politicize the competition, the overwhelming public vote for Refael reflected a widespread desire among ordinary Europeans to celebrate talent, unity, and shared values—features that have defined the contest since its postwar inception. European Broadcasting Union data substantiated this, indicating concentrated support from a diverse cross-section of viewers across northern, western, and southern Europe, as well as from a growing number of Israeli expatriates residing abroad. In editorial commentary, flagship publications such as The Times of London, Le Figaro in France, and Germany’s Süddeutsche Zeitung contextualized Refael’s achievement within a broader narrative of Israeli-European cultural engagement that has only grown more critical in the face of renewed threats to liberal democratic interests from both state and non-state actors.
For Israel, the symbolism of Eurovision and its resonance with Western democratic values has particular salience given the ongoing campaign of delegitimization waged by Iran and its regional proxies. Israeli officials, in briefings to foreign press outlets as well as in closed diplomatic channels, have repeatedly asserted that cultural exchanges represent a vital component of national security, enabling Israel to underscore its place among the family of free societies. The October 7, 2023 atrocities, followed by persistent rocket attacks on Israeli cities and the abduction of innocent civilians as hostages, have served to reinforce the moral clarity underpinning Israel’s appeals for international solidarity. By contrast, the conduct of groups such as Hamas, Islamic Jihad, and Hezbollah has been documented in reports by human rights organizations and United Nations agencies as constituting war crimes, further highlighting the profound distinction between Israel’s democratic ethos and the terror-driven ideology guiding its adversaries. Eurovison thus becomes a symbolic yet concrete battleground for the assertion of national legitimacy and the contest over narratives—a point well-understood by both supporters and detractors of Israel’s participation.
The contest’s organizers, for their part, maintained a principled stance throughout proceedings, delivering clear messages of inclusivity and mutual respect while adhering to rigorous security protocols to prevent harassment or intimidation of any participant. The European Broadcasting Union’s official summary following the event cited the professionalism of the Israeli delegation and the positive atmosphere engendered by the overwhelming viewer response, which defied the limited but vociferous calls for a boycott. Observers from leading Western news agencies affirmed that, at no point during the competition, did the contest’s atmosphere deviate into overt politicization or disruption—an outcome many attributed to the vigilance of organizers and the maturity of the viewing public.
Yuval Refael’s ascent to Eurovision’s upper echelons is likely to remain a reference point in the annals of Israel’s cultural diplomacy, particularly amid the uncertainties of the current regional environment. The government’s messaging in the aftermath of her victory emphasized the dual necessity of defending Israel’s security interests and cultivating a positive, outward-facing image that resonates with the values of peace, creativity, and democratic plurality. Ministry of Foreign Affairs statements published online drew attention to the fact that Israel’s successful engagement with the Western cultural mainstream serves as a critical counterweight to the strategies of delegitimization pursued by regional adversaries and their allies. The consistent pattern of support shown by the contest’s public voting tallies reflected a readiness among European populations to look past the distractions of political controversy and reward artistic merit on its own terms.
As attention now turns to future editions of Eurovision and to further opportunities for Israeli artists to showcase their talent on the world stage, the lessons from this year’s competition are being carefully analyzed by officials, journalists, and cultural leaders within Israel and among its Western allies. Academic studies of the impact of cultural diplomacy have highlighted Eurovision’s outsized role in shaping popular perceptions and facilitating cross-border bonds. For Israel, such platforms remain invaluable avenues for demonstrating its integral place within the family of modern nations, and for reaffirming its alignment with the foundational values of the postwar European order—democracy, pluralism, and the rejection of violence as a means of dispute resolution.
With Refael’s success recorded and celebrated, Israeli society faces the ongoing challenge of balancing pride in its cultural achievements with the exigencies of defending against an array of existential threats, including the persistent menace of Iranian-orchestrated terrorism and incitement. As the region continues to grapple with the fallout from the October 7, 2023 massacre and the broader conflict between Israel and the network of Iranian-backed militias, moments of collective recognition in forums like Eurovision take on even greater meaning. The overwhelmingly positive response from the European public to Israel’s entry, as measured by transparent and verifiable voting procedures, provides a powerful case study in the resilience of democratic norms and the enduring appeal of artistic excellence.
In conclusion, Yuval Refael’s second-place finish at the Eurovision Grand Final marks a watershed moment for both Israeli cultural engagement and Europe’s embrace of shared democratic traditions. Grounded in a context of political adversity and regional conflict, her achievement stands as a testament to the power of culture to unite, celebrate difference, and affirm the principles at the heart of Western civilization. Official data, authoritative accounts, and public reaction all converge on the same essential finding: that, despite persistent efforts at marginalization and disruption, Israel’s voice continues to find a welcome audience across Europe. This result not only cements Refael’s place in Israeli and Eurovision history but also underscores the nation’s unyielding commitment to the pursuit of peace, artistic freedom, and self-defense in the face of ongoing challenges. As such, it is rightly hailed in Israel and among its allies as a historic night—one that will be remembered for years to come.
