Controversial Comments Ignite Firestorm

Operatic singer JJ (Johannes Pietsch), recent victor of the 2025 Eurovision Song Contest, has sparked considerable controversy following comments published in El País, in which he called for the exclusion of Israel from the 2026 edition. The remarks have ignited a firestorm of diplomatic and cultural criticism, prompting questions about the responsibilities of public figures in moments of geopolitical tension. “It is very disappointing to see Israel still participating in the contest. I would like the next Eurovision without Israel,” JJ was quoted as saying.

Insensitive Timing and Impact

Although framed as a political critique, the statement quickly triggered responses from Jewish leaders and international observers, many of whom saw the remarks as incendiary and deeply insensitive given the recent traumas of the Israeli public. Notably, Yuval Raphael, the Israeli contestant who placed second, is a survivor of the Nova music festival massacre, one of the deadliest events of the 7 October 2023 Hamas assault.

A Personal Reflection: The Weight of History

As we take a closer look at the artist behind the controversy, it emerges that JJ (Johannes Pietsch) resided in Dubai until 2016. Given his young age and relative cultural distance, it is perhaps understandable that the full weight of Israel’s historical, religious, and spiritual resonance may not yet have shaped his worldview. He may, for instance, be unfamiliar with “Jerusalem”, the third single from Alphaville’s 1986 album Afternoons in Utopia—a track that encapsulates Western yearning for the eternal city. Yet, just beyond the headlines and the politics, there lies a land that transcends disputes: Jerusalem, the city of peace.

It is there, in the land of the Bible, that Abraham pitched his tents and placed his faith in God. It is where David—warrior, king, and psalmist—fought under the banner of the Almighty. It is the stage upon which the prophet Elijah declared that “Yahweh is my God”, confronting the pagan practices of his day. And it is where Jesus, the incarnate Word, entered history as the Messiah—first to the Jewish people, then to the nations.

For the Christian believer, Israel is not merely a nation but a testament to God’s enduring covenant. The early Church was born there, amid a people chosen not for their merit, but for God’s purpose. Each visit to that land brings one closer to the stories, the soil, and the spiritual lineage that continues to shape Christian faith to this day. One might gently suggest that JJ—before making definitive public declarations—might one day travel to the Holy Land, not for spectacle, but for perspective. In walking those ancient paths, he may encounter not only the political realities of the region, but also the profound legacy of faith, endurance, and divine purpose that Israel represents for millions across the world.

Management Responds Amidst Backlash

JJ’s Eurovision win with “Wasted Love”—a song co-written with Teodora Špirić and Thomas Thurner—had positioned him for international acclaim. Yet, only days later, his own words cast a shadow over that success. His management, Manifester Music, quickly released a statement via Warner Music: “I am sorry if my words were misunderstood. Although I am critical of the Israeli government, I condemn all forms of violence against civilians anywhere in the world—be it against Israelis or Palestinians. I will not comment further on this issue.” Nevertheless, the backlash continued. Oskar Deutsch, head of the Jewish Religious Community (IKG), denounced JJ’s position: “He is joining the chorus of Israel-haters, turning Israeli victims into aggressors and sowing division. This is disappointing but, above all, dangerous.”

Context and Comparisons: A Flawed Analogy

The political subtext is especially volatile in light of JJ’s reported comparison between Israel and the Russian Federation’s actions in Ukraine—a characterisation many view as historically inaccurate and morally offensive. Drawing a parallel between a democratic state’s counterterror response and an authoritarian invasion known for systematic atrocities is not only analytically flawed, but also deeply misleading.

Eurovision in an Age of Division

As the EBU prepares for the 2026 competition, organisers face the perennial challenge of upholding neutrality while being drawn into the moral demands of a fractured international landscape. JJ’s remarks have underscored the stakes involved: in a globalised culture, every word from every stage matters. Whether the singer’s career will recover remains uncertain. What is clear, however, is that art and politics are no longer easily separated, and that even a song contest can become a battleground of memory, meaning, and morality.

What exactly did JJ (Johannes Pietsch) say that sparked international controversy?

JJ, the 2025 Eurovision winner, stated in an interview with El País: “It is very disappointing to see Israel still participating in the contest. I would like the next Eurovision without Israel.” Though framed as political critique, the timing and tone—given the context of the October 7 Hamas massacre and Israel’s recent trauma—were widely condemned as insensitive and inflammatory.

Why have JJ’s comments been seen as particularly offensive in the context of recent events?

JJ’s remarks disregarded the emotional and historical weight of the tragedy experienced by Israelis, especially survivor Yuval Raphael, who came second at Eurovision after surviving the Nova music festival massacre. Drawing political lines in the sand so soon after a civilian atrocity is seen by many as deeply callous.

Did JJ compare Israel to Russia, and why is that considered problematic?

Yes, JJ reportedly drew a parallel between Israel’s actions and Russia’s war in Ukraine. This comparison is broadly viewed as historically ignorant and morally bankrupt. Israel, a democratic state responding to terror, cannot be equated with Russia, an autocratic regime responsible for widespread war crimes, including deliberate civilian targeting, occupation, and mass rape. The comparison trivialises both Israeli trauma and Ukrainian suffering.

What role have Teodora “Teya” Špirić and Thomas Thurner played in the success of “Wasted Love”?

Teodora Špirić and Thomas Thurner were the creative backbone behind “Wasted Love”, contributing lyrics, composition, and production. Špirić, in particular, represents a rising generation of talented songwriters who bring vision and depth to contemporary music. Their work now risks being overshadowed by JJ’s poorly judged political posturing.

How has the Jewish community responded to JJ’s remarks?

Oskar Deutsch, president of the Jewish Religious Community (IKG), responded forcefully, stating: “He is joining the chorus of Israel-haters, turning Israeli victims into aggressors and sowing division. This is disappointing but, above all, dangerous.” This response reflects broader concerns that JJ’s statements risk legitimising antisemitic narratives and distorting the moral clarity of recent events.

What are the broader implications for Eurovision and the relationship between art and politics?

JJ’s remarks have once again shown that art cannot be easily separated from politics. Eurovision’s stated apolitical nature is increasingly difficult to uphold in a world where global audiences demand moral accountability. Cultural platforms, once reserved for celebration and connection, are now battlegrounds for values, memory, and truth.