Swedish pop icon Robyn has publicly denounced the Eurovision Song Contest, describing the long-running competition as “just shit” and “embarrassing” during a recent podcast appearance.
Speaking on Amy Poehler’s Good Hang on November 10, the singer admitted she no longer watches the event, citing a decline in its former appeal.
The critique marks a change for an artist from a country that has historically embraced the contest as a pillar of national musical pride. With Sweden boasting seven victories, Robyn’s dismissal highlights a growing disconnect between the competition’s legacy and its current cultural standing in the eyes of some industry veterans.
Three Facts on the Eurovision Controversy
- Robyn explicitly stated she does not watch the show anymore, noting that she feels “overstimulated, and in a bad way” after viewing it.
- The singer’s comments arrive as the contest faces geopolitical friction, including formal withdrawal announcements from several participating nations for the 2027 cycle.
- Sweden’s historical success—from ABBA’s 1974 victory to Loreen’s dual wins—has historically made the country a Eurovision powerhouse, a legacy Robyn now views as detached from the current iteration of the show.
A Legacy of Swedish Dominance
For decades, Sweden has functioned as the engine room of Eurovision success. The victory of ABBA with “Waterloo” in 1974 remains the gold standard, providing a template for international pop stardom that few subsequent winners have matched. Robyn acknowledged this lineage, noting that she and fellow artist Zara Larsson grew up listening to Swedish icons like Carola Häggkvist, who secured the win in 1991 with “Fångad av en stormvind.”
But the math tells a different story for the modern iteration of the contest. While Loreen’s victories in 2012 and 2023 proved that the country still commands the stage, Robyn’s recent remarks suggest that the artistic quality has plummeted for her. “We don’t have ABBA anymore, so I don’t really watch Eurovision,” she told Poehler. “Now, it’s just shit, I would say.”
The Geopolitical Strain on the Contest
Robyn’s disdain for the modern show does not exist in a vacuum. Her comments follow a period of intense public scrutiny regarding the participation of Israel in the competition. In January 2024, she was among more than 1,000 Swedish artists—including Fever Ray, First Aid Kit, and Viagra Boys—who signed an open letter calling for Israel’s exclusion from the Malmö contest.
The organizers ultimately rejected these calls, but the fallout has been tangible. The decision to maintain the status quo regarding Israel’s participation has led to a fracturing of the Eurovision bloc, with Ireland and the Netherlands confirming they will not participate in the 2027 competition.
Industry Performance Metrics
| Artist | Winning Year(s) | Song Title |
|---|---|---|
| ABBA | 1974 | Waterloo |
| Carola Häggkvist | 1991 | Fångad av en stormvind |
| Loreen | 2012, 2023 | Euphoria, Tattoo |
Shifting Focus to New Music
While Eurovision finds itself in the crosshairs of critical voices, Robyn’s own creative trajectory remains firmly rooted in her current output. Her ninth studio album, Sexistential, released in March, has been met with critical acclaim, signaling a shift toward a more introspective sound. The record serves as her first full-length project since 2018’s Honey.
The commercial reception remains strong, bolstered by a massive headline tour that included a five-star rated performance at London’s O2 Arena this past July. Her recent collaboration with Zara Larsson on a reworked version of “Talk To Me” further emphasizes that her focus has transitioned toward contemporary partnerships rather than the nostalgia-fueled stage of the European competition.
“My friend Bart has a blanket that he pulls up over his eyes while we’re watching ’cause it’s so embarrassing, and it really is embarrassing,” Robyn told Poehler.
