Eduardo Sorte: “Gosto de olhar para a minha obra como um retrato”

How did music enter your life?

Music gradually became part of my life until it took on the central role it has today. It was through composing that I developed a deeper connection with music. I realized how much relief and freedom composition brought me, and that’s when I understood that music was much more important in my life. Around the age of 12, when I started orchestrating my own songs, I quickly became interested in exploring other instruments and understanding their languages to use them in my arrangements.

How has your development as an artist progressed?

I believe an artist’s development is inseparable from the construction of their own identity. The music I play, interpret, study, and compose has always reflected who I am and what I seek internally. I completely agree with Quincy Jones when he says: “Your music can never be more or less than you are as a human being”.
In this sense, the time I dedicate to reading, listening to interviews of people I admire, being exposed to culture, and constantly questioning what I call “certainties” enriches me as both a human being and an artist.

How essential has formal training been in your journey?

My first steps at an academy like Valentim de Carvalho were enriching and decisive. From a performance perspective, I learned to collaborate in large teams and participate in diverse shows, often outside my comfort zone. I would especially highlight the Escola do Rock in Paredes de Coura, where I took part in artistic residencies for several years. Academically, the School of Arts at Universidade Católica Portuguesa and the Bachelor’s in Sound and Image had a great impact, connecting me with inspiring people, works, and paths that pointed to the importance of continuing my studies to grow on all these levels.

“The course provides a rich panorama of art forms, encouraging us to discover new artistic paths and possibilities.”

What has stood out most to you in your degree?

The variety of projects involving different techniques, artistic media, and ways of thinking has been extremely enriching. Theoretical courses such as Art History, Contemporary Thought, Media Theory, Iconography, and Semiotics have profoundly shaped my understanding of the world and of art. The course provides a rich panorama of art forms, theoretical and historical foundations, and an implicit “deconstruction” that encourages us to find new artistic paths by merging everything we learn.

Has any particular project left a lasting impression on you?

It’s hard to choose among the many projects I’ve been involved in. One that particularly stands out is Project 4, a group project supervised by lecturers Marcelo Reis and Lorena Alves. This project spanned multiple domains, including music, programming, construction, material selection, and installation assembly. It was challenging on many levels but became a significant learning experience. The work was publicly displayed in the MOCAP room at Universidade Católica, welcoming attendees from both within and outside the university.

“I aim to explore in myself what is universal to the human experience: feelings of passion, longing, joy, loneliness, hope, existential questions…”

You also study at the Porto Conservatory of Music and have had many performance experiences. How do you manage these different demands and rhythms?

With passion. It’s essential to love what you do and find every project more exciting than taxing. Time management and clear prioritization are crucial. Sometimes it’s difficult to balance all tasks, which requires starting work as early as possible. Still, I can’t imagine my life any other way.

How would you describe your work? What themes and styles do you explore?

I like to see my work as a portrait. I explore what is universal in human experience: feelings of passion, longing, joy, loneliness, hope, existential questions.
Regarding style, it’s always been difficult for me to choose just one aesthetic or identity. I am many things, too many to be only one, and I think: aren’t we all like that? Mutable, plural, amorphous. My musical portfolio spans electronic music, alternative rock, contemporary jazz, folk/country, singer-songwriter, and pop. I am passionate about all these musical universes.
In my lyrics, the poetry of Sophia de Mello Breyner, Fernando Pessoa and his heteronyms, Florbela Espanca, and Daniel Faria, among others, has helped me find ways to use language disruptively and capture something greater. I enjoy using poetic, metaphorical, and allegorical language, as it allows listeners to interpret and reflect on their own feelings while engaging with the song.

Which artists inspire you the most?

David Bowie, Fiona Apple, Radiohead, Jon Brion, The Beatles, Maria João Pires, Jorge Palma, and many others have greatly inspired me through their journeys and identities. I believe influences are important, even to help us discover more about ourselves, what we like, and what truly inspires us.

Do you believe music can have a transformative role in society?

Not directly. Change is always in the hands of those who act, unite for a cause, and engage directly with society. Music alone, outside of any context, cannot alter deeply rooted social structures. However, we are moved by emotion, empathy, and awareness for a cause and, here, music and art can play a role. Music can plant seeds within us that might someday drive us to act. But true change lies not in art itself, but in the individual.

“It’s crucial to know what we want so we don’t betray ourselves and can act with assertiveness and confidence.”

Which projects will mark your year 2026?

Currently, I am fortunate to have several projects happening simultaneously. I am promoting two singles, Ser ou Não Ser and Chuva do Meu Olhar, as well as my EP, continuing from late 2025. I am responsible for orchestrating arrangements at the Lycée Français International do Porto for the schools’ charity concert at Casa da Música in March. I am also composing soundtracks for three final projects by Sound and Image students. Concerts and recordings are scheduled for early in the year. Academically, my final degree project in Sound and Image and the Artistic Aptitude Test at the Conservatory are progressing and will be presented in May–June 2026.

What advice would you give to students trying to balance academic training with active artistic practice?

I would first encourage experimenting a lot and collaborating with other artists. But it’s also essential to have focus, direction, and a clear strategy to guide exposure to new experiences. Another key point is prioritizing between academic, professional, and personal life. Knowing what you want helps you act assertively and confidently, even when outcomes aren’t what you expected. It’s important to pursue what truly drives you. Finally, formal training is a pillar, as well as having the motivation to overcome challenges, trusting in your own value, and believing in your goals and dreams. I often share a piece of advice I’ve often heard in this field: “If you’re here, you have to really love it!”