My guilty pleasure is the 2019 Portuguese entry, “Telemóveis,” by singer-songwriter Conan Osíris. Osíris won the right to represent Portugal in Tel Aviv after winning both the televote and jury vote at the Festival da Canção. It sadly did not qualify, placing 15th in the first semifinal. Despite the result, “Telemóveis” highlights Portugal's openness to take risks, push boundaries, and send entries that no one can say is generic or “basic.”
Telemóveis translates to “mobile phones.” When literally interpreting the lyrics, one may become confused about using a mobile phone to contact the dead. But there is a deeper meaning to that. The song appears to be a commentary on the overdependence of mobile phones replacing meaningful connections – essentially using them to connect with people is almost like trying to reach the dead. It’s rather poetic, cryptic, and artistic.
The song is not mainstream Eurovision. It does not conform to Western music theory, from the song structure to the chords. There are electronic and even hip-hop elements combined with Arabic, African, and Asian influences. It’s avant garde. It’s out there. It's not meant to be easy listening. The morbid and mysterious feeling accentuates the song’s message.
In the final analysis, “Telemóveis” became too inaccessible to a mostly Western mainstream audience. But I will forever appreciate the Portuguese people and Conan for challenging Eurovision's norms with this beautiful, artistic, and unique entry.