For years, Eurovision has been much more than just a song contest. It is a musical, television and cultural spectacle in which individual countries tell their stories through pop music, stage design, symbols and emotions. This year’s 70th edition of the Eurovision Song Contest is taking place in Vienna, with the semi-finals scheduled for 12 and 14 May and the final for Saturday, 16 May. Thirty-five countries are taking part in the competition, fewer than in many previous years, partly due to a boycott by some broadcasters over Israel’s participation.
This year, the representation of broadly understood Central and Eastern Europe is particularly visible: from Poland, Czechia, Lithuania, Latvia and Estonia, through Ukraine and Moldova, to Balkan countries such as Serbia, Croatia, Montenegro, Albania, Bulgaria and Romania. In the Eurovision format, this region has long ceased to be on the margins of the competition and has become one of its most dynamic centres. It is often from this part of Europe that performances emerge which combine modern music production with local languages, traditions, folklore, history and strong stage expression.
The first semi-final confirmed that performers from this part of Europe are capable of successfully competing for the attention of both viewers and juries. Among those who qualified for the final were Moldova with “Viva, Moldova!”, Serbia with “Kraj Mene”, Croatia with “Andromeda”, Lithuania with “Sólo Quiero Más” and Poland, represented by Alicja with the song “Pray”. This is a strong result for the region, especially given that only 15 countries competed in the semi-final and only the top ten advanced to the next stage.
For Poland, Alicja’s qualification is particularly significant. Her performance fits into the Eurovision tradition of emotionally charged ballads built around strong vocals and a personal message. In recent years, Eurovision has increasingly rewarded not only spectacle, but also authenticity and artistic distinctiveness. The Polish entry is therefore not merely an attempt to “fit in” with the contest’s aesthetics, but also a way of building a recognisable stage identity.
However, not all countries from the region were able to celebrate success. Georgia, Montenegro and Estonia did not qualify from the first semi-final. Estonia’s case is especially symbolic, as the country was represented by Vanilla Ninja — a group well known to Eurovision fans from previous years. This shows how unpredictable the contest remains: experience, recognisability and audience nostalgia are not always enough when the competition is strong and the voting combines musical, visual and emotional assessment.
The second semi-final will be another important test for Central and Eastern Europe. The stage will feature, among others, Bulgaria, Azerbaijan, Romania, Czechia, Latvia, Ukraine and Albania. Ukraine’s performance, as usual, is attracting particular attention. Since 2022, Ukraine has become one of the most symbolically important Eurovision participants. Ukrainian entries are often perceived not only as songs, but also as statements about identity, resilience and the country’s place in Europe.
The significance of this part of the continent in Eurovision is not a new phenomenon. In the 21st century, victories have been won by countries including Estonia, Latvia, Ukraine, Serbia, Russia and Azerbaijan. Ukraine has won the contest three times: in 2004, 2016 and 2022, while Serbia triumphed in 2007 with the song “Molitva”. These successes changed the geography of the competition, which for decades had been associated primarily with Western Europe and Scandinavia.
For Central and Eastern European countries, Eurovision has become a space for self-presentation. Performances from the region often combine several layers of meaning: modern popular music, elements of national language, references to local aesthetics and emotions connected with history and the present day. As a result, the contest functions not only as entertainment, but also as a symbolic map of Europe — showing which countries want to speak in their own voice and how they wish to be seen by others.
This year’s Eurovision is taking place, however, in an atmosphere of political tension. According to Reuters, five countries — Spain, the Netherlands, Ireland, Iceland and Slovenia — are boycotting the contest because of Israel’s participation in the context of the war in Gaza. This makes the Vienna edition one of the most politically charged in recent years, although the organisers are trying to keep the contest’s message focused on unity and music.
Against this backdrop, the performances of artists from Central and Eastern Europe take on additional significance. The region, which itself experiences geopolitical tensions, war, disputes over memory and identity, brings a particular sensitivity to Eurovision. It does not always win and does not always appeal to the tastes of all Europe, but it increasingly sets the tone for the conversation about what modern Eurovision actually is: a pop-cultural festival, a television competition, a showcase of national brands and, at times, a stage on which the most important emotions of the continent are reflected.
The Vienna edition therefore shows that Central and Eastern Europe remains one of the most interesting areas of Eurovision. It is from this region that both dance-oriented, catchy entries and performances deeply rooted in national narratives emerge. And after the qualifications of Poland, Lithuania, Croatia, Serbia and Moldova following the first semi-final, it is already clear that the region is not merely participating in the contest, but actively co-creating its final story.
