The Eurovision Avant-Garde: Pushing Boundaries in Music and Performance

As we look at trends that seem relevant as we move toward the 2025 contest, we wanted to explore weird, the odd, and the truly avant-garde of Eurovision history. While much of the conversation around Eurovision focuses on its pop hits and international chart success, this episode highlights how the contest has also been a breeding ground for boundary-pushing artistry.

In order for a Eurovision act to qualify as truly avant-garde, it needs to both be stylistically innovative and contain content that is in some way making a point. Jamala’s 1944, for instance, is forceful in its content but realist in its execution. Meanwhile Kaarija’s Cha Cha Cha can be thought of as stylistically innovative - but that innovation is not in service of a broader point. With that in mind, here are some of the most striking avant-garde acts in Eurovision history.

Sylvia Knight: The Pop Culture Satire

A fascinating example of avant performance at Eurovision is Iceland’s Silvia Knight, a fictional pop star created by comedian Ágústa Eva Erlendsdóttir. As a character, Silvia embodied the worst excesses of modern pop celebrity culture, complete with egotistical interviews and staged tantrums. Her 2006 Eurovision entry, “Congratulations,” saw her breaking Eurovision’s rules by adding profanity to her lyrics during rehearsals and making outlandish accusations against fellow contestants. While the act didn’t land well with Eurovision audiences (she was booed off stage), it remains an unforgettable example of avant-garde performance art. Ágústa’s innovation was staying in character throughout the Eurovision week - and convincing many of the Eurovision fans that she actually was the embodiment of narcissistic pop culture that the character was critiquing.

Let 3: Croatian Punk and Political Commentary

Croatian punk band Let 3 took avant-garde performance to another level. Known for their theatrical, militaristic drag and provocative stunts—including performing naked—the band used Eurovision to critique nationalism and masculinity. Their song “Mama ŠČ!” was a satirical take on the political landscape, referencing Lukashenko and Putin. Despite (or perhaps because of) their controversy, their impact was undeniable. The example of Let 3 is a reminder that there can be tension in taking a transgressive, avant-garde performance and placing it in the context of a family friendly, mainstream show. 

Hatari: BDSM and Political Defiance

Hatari, Iceland’s BDSM-inspired multimedia performance group, blurred the lines between music, art, and activism. Their industrial punk sound and militaristic drag aesthetic played with themes of authority and resistance. Competing in Eurovision 2019 in Tel Aviv, they took a bold stand against Israel’s hosting of the contest by displaying Palestinian flags during the vote announcement. This political statement was partially effective because of the brand of social critique the group created on stage. Their avant-garde approach ensured their legacy extended far beyond the competition itself.

Verka Serduchka: The Power of Camp and Satire

Ukrainian performer Verka Serduchka is another staple of Eurovision’s avant-garde history. As a drag persona, Verka combined traditional Ukrainian aesthetics with over-the-top pop sensibilities. Her 2007 entry, “Dancing Lasha Tumbai,” became the subject of political controversy when it was revealed that the nonsense lyrics actually meant “Russia Goodbye.” Today, Verka remains a cultural icon, selling out large venues worldwide, often surpassing even recent Eurovision winners in popularity. Her continued success is attributable both to her stylistically wild performance, as well as the fact that she was taking a stand against Russia at a time when that was comparatively controversial.

Manizha: Challenging Gender Norms in Russia

Finally, Manizha’s 2019 performance for Russia was a feminist statement wrapped in avant-garde theatrics. Her song “Russian Woman” addressed themes of identity, tradition, and gender roles. Her performance included a striking visual—a massive traditional costume that transformed as she stepped out of it, symbolizing breaking free from societal constraints. Given her eventual outspoken stance against Putin and her consistent support for women’s rights, her Eurovision entry can be seen as hand in hand with her more explicit activism.

Ultimately there is an ongoing tension between Eurovision’s mainstream appeal and its avant-garde acts. The contest thrives on the viral potential of boundary pushing acts, but as soon as avant-garde performances become fully accepted, they risk losing their transgressiveness and identity as avant-garde. The very nature of avant-garde art means existing in opposition to the mainstream—making these acts some of the most dynamic, controversial, and unforgettable in Eurovision history.