In Denmark, a British rock star turned his show into a political tribunal against Israel with Greta Thunberg as the symbolic figure. What began as a concert ended up as a stage for slogans that are deeply rooted in anti-Semitic rhetoric.
Anyone who came to the Danish music festival Syd for Solen last Friday night was probably expecting loud guitars, energy and the community spirit of a summer night. Instead, the audience witnessed a calculated political spectacle that conveyed a clear message under the guise of "freedom" and "human rights": the delegitimization of Israel. Sam Fender, one of Britain's best-known rock musicians, used his closing number not to say goodbye to his fans, but to leave the stage to clearly anti-Israeli activism including Greta Thunberg, who has long since ceased to appear only as a climate activist, but as a permanent fixture in the international network of anti-Israeli campaigns.
Fender announced his song "Hypersonic Missiles" with the words that he wrote it in 2018, but that the lines are "more relevant than ever". In this introduction, he placed a sentence that not only revealed his political stance, but also prepared the audience for the performance that followed:
"Children in Gaza are being bombed and I'm just outside the door."
Anyone who listened carefully noticed how the musician reduced the complex Middle East conflict to a morally one-sided headline without context, without historical embedding, without any mention of the terrorist organization Hamas, which has held Gaza hostage for years.
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Then came the "special guest": Greta Thunberg, flanked by other activists waving Palestinian flags. Together they shouted slogans such as
"From the river to the sea - Palestine will be free"
a slogan that is unmistakable in its meaning: the eradication of the state of Israel between the Jordan and the Mediterranean. These words are no harmless phrase; they have been used time and again throughout history by those calling for a reality without a Jewish state. The fact that this was met with frenetic applause on a European festival stage shows how deeply anti-Semitic narratives have long since seeped into the cultural mainstream.
A giant projected Palestinian flag was emblazoned in the background while an activist named Selma de Montgomery accused the Danish government of being "complicit" in the suffering in Gaza and "all of Palestine" for not ending the arms trade with Israel. This speech was not an emotional outcry in the heat of the moment, but a calculated message that fits perfectly into the script of global BDS campaigns. The appearance by Thunberg and Co. was therefore less spontaneous activism and more a media-effective component of an ongoing international delegitimization campaign against Israel.
The reactions on social media were not long in coming: While many celebrated Fender as "courageous" and demanded that "other artists should learn from him", there were also critical voices advising him to "stick to the music". But these isolated admonitions were lost in the digital euphoria, a euphoria that trivializes hatred against Israel as long as it is clothed in the aesthetic garb of music, art and "justice".
This reveals a dangerous trend: artists no longer use their reach only for political messages, but often for one-sided, highly polarizing campaigns that do not allow for any differentiation. The Middle East conflict thus becomes the backdrop for a moral spectacle in which Israel is always the aggressor, while the crimes and war aims of Hamas remain invisible. The fact that Thunberg herself took part in a pro-Palestinian boat convoy to Gaza just a few weeks ago, a PR maneuver that had no humanitarian benefit whatsoever, but maximum media attention, fits into the picture.
These productions reach an audience of millions, especially young people who perceive pop stars and activists like Thunberg as moral authorities. But they do not convey any knowledge, historical truth or political context. Instead, they sell simplified victim-perpetrator stories that ultimately achieve one thing: The demonization of Israel becomes socially acceptable, and anti-Semitic slogans are given the veneer of "progressive engagement".
Europe must ask itself how it has come to the point where slogans are chanted on festival stages that ultimately call for the destruction of a democratic state. Anyone who utters these words or applauds them cannot claim not to have understood what they mean. History is clear here and it teaches us that such rhetoric never remains in a vacuum.
It is not forbidden to criticize Israel. But when criticism is limited to slogans, ignores terror groups and accepts their propaganda without question, then it becomes complicit with those who do not want peace. Artists like Sam Fender bear responsibility for this and anyone who goes on stage should know that words have power. Greta Thunberg and her comrades-in-arms have long since decided to use this power against Israel.