This paper examines Israel’s participation in the Eurovision Song Contest during the Gaza war by looking at its 2024 (“Hurricane”) and 2025 (“New Day Will Rise”) entries as audiovisual articulations of national mourning in the aftermath of October 7th. Instead of looking at these entries primarily as strategic interventions within a moment of political controversy, I analyze their official music videos as platforms through which collective grief and resilience are rendered visible and audible. Through scholarship on semiotics, trauma and grievability, I argue that the videos mobilize visual and sonic motifs to represent mourning through both personal vulnerability and communal endurance. These mediated discourses address domestic audiences that are still going through the aftermath of trauma, as well as international audiences for whom the scale and impact of October 7 on Israeli civilians have not been fully apprehended within dominant media frames. However, once the contest begins, their expression of grief becomes entangled in geopolitical debates, revealing how public grief acquires political force when mediated transnationally. By examining these entries as sites where mourning is aesthetically shaped and the Eurovision as an international arena where both support and contestation occur, this paper contributes to discussions regarding the intersections between public mourning and geopolitical contestation in global media events, as well as to ethnomusicological studies of music in crisis.