Oh, no, no more.

For the third consecutive year, the UK collapsed on European TV, ranking 19th out of 26 possible 26.

This time it felt particularly cruel because our contestants remembered doing a lot of things on Monday.

Most notably, they can sing - I mean, really, really sing.

Lauren, Holly and Charlotte each harmony in their songs reaches everything that just happened and draws on a decade of West End experience with precision that allows them to see everything from Matilda to the operatic phantom.

Their vocals are as strong as the roar of a lion after the toe performances of Olly Alexander in 2024 and Mae Muller in 2023. In fact, so powerful that they caught the attention of former Eurovision champion Conchita Wurst.

He said enthusiastically before the final: "There were few solutions on the Eurovision stage in the past, but they were victorious."

"Their confidence is incredible. You trust them immediately because when you feel the artist is nervous, you are nervous as an audience. But they are so lightweight, so sharp."

What's wrong?

Honestly, this song is the culprit.

In the manic musical style, it speeds up in the verses and slows down for the chorus, all the consistency of jelly in the heat wave.

This is not to say that this is a bad writing. Indeed, all 88 points in the UK come from the professional jury of songwriters, whose job is to recognize the compositional craft.

They will recognize that all the clever British touched the bands packed with bands-Elton John-Style piano Crescendos, Beatles-style Mellotron Riff, and the vocal callback of George Michael Freedom in the 90s.

The lyrics are also very smart and witty. Reminiscent of Katy Perry's last Friday night (TGIF), or if I'm a boy and a doll bell, it's the drunken mistake you made while trying to overcome your ex.

“Broken heel, lost key, scraped my knee/When I fell from the chandelier.“

In just three minutes, the three got rid of six memorable hooks and gave them a friendly and indestructible bond.

But, with experienced European TV viewer Jonathan Vautrey noting in a comment last month, the song is too busy.

"When you are busy hearing the continuous whip of almost brand new songs every 30 seconds, it's hard to grasp exactly how they sell," he wrote on Wiwibloggs fansite.

“Although I was able to work overtime into the entrance and now thanks for all this drama, first impressions are important on Eurovision.”

This is an opinion I have heard many times. But I still hope.

On Saturday, I grabbed the tram at the St. Jack Bouchard Arena in Basel and I was stopped by a Swedish woman who found my British media pass.

She wanted to tell me how she fired Monday’s song when she auditioned for this year’s Eurovision song on Spotify. Then, she saw their dynamic performance in the semifinals.

Then one vote is enough. Then why aren't there more people connecting with it?

The show was grouped together by Ace Bowerman, one of the most respected creative directors in the UK - responsible for Blackpink's birth Pink World Tour and Dua Lipa's Lockdown Spectacular, Studio 2054.

Speaking before the final, she told me that the performance deliberately proved the girl’s friendship.

“As soon as I saw them, I was like, ‘Please be my friend!’” she told me

"They are electric people, they have such a special bond. So one thing I want everyone to get out of the show is how fun they are - because the audience wants to be their friends, too."

It's camp and fun, but lacks the size of Finland's Erika Vikman, who soars audiences on a huge penis microphone, or the drama of Austrian champion JJ, who is thrown onto the stage in the storm of his own emotions.

"The UK shows are not flat at all, but like this song, it's probably a little too much."

“Like, we have three minutes and we’re going to show you everything we can do at this stage: we’re going to start in the bed, we’re going to dance on the chandeliers, we’re going to go along the fashion show, and we end up lying in the bed again.

“I think maybe next year’s nod is a nod.

"Again, as a Finn, the largest microphone you can find throughout Switzerland, maybe I shouldn't offer advice!"

The wrinkled European TV website: What about politics?

Voting trading is an ancient tradition in the competition. For example, since Sweden first participated in 1958, one-fifth of its votes have come from Norway, Finland, Denmark and Iceland.

But the situation is complicated. Political tensions persist in the Balkans, "but cultural ties seem to outweigh political divisions," Dean Fuletic, author of the post-war European and European TV song contest, recently told AFP.

“I would say it’s because these countries do share the music industry.”

The UK's music industry is not particularly well integrated with Europe, and tends to ride on its less influential neighbors.

Our reputation took a hit after Brexit when it comes to friendly neighbors - although Luxembourg has always been a reliable source of votes, the reason is unclear 100% of the time.

But here's the thing: you can only vote for one country on Eurovision, not against it.

Remember Mondays are good, but they are good enough to make your personal top 10?

If so, that would be great - you'll give them some points. Otherwise, it was a hard effort.

Finally, remember Monday’s fate: another disappointment at zero.

So, where will this bring Britain to next year?

Well, we have laid a good foundation. Remember, Mondays don’t have a parody European style or a bland ballad. The voice is very strong. The stage conveys personality.

Their energy is infectious, they make friends throughout Europe and become great ambassadors of Britain in the game.

Their 88 jury points have almost doubled. We just need to find a way to get the public vote back to side by side.

In other words, as Scott Mills and Graham Norton discussed on Radio 2 this weekend, we shouldn't be frustrated with the band itself.

"I thought they were spectacular, so I really don't mind where they put because it's not awkward," Mills said.

"I'm with you," Norton agreed. "They are so cute. No matter what happens, they walk away with their high heads."

Mills warned not to be cynical.

“Every year there is a portion of fans (who) complains, no matter what the UK does: ‘Oh, this song is so generic, the vocals are not good.”

“We can send Adele and they have something to say.

"But the whole thing about Eurovision is that it's fun and it's fun through music... so please don't spoil it. Going elsewhere is painful."

This is exactly the attitude we need. If all we have to do is watch the game down and treat it with a failure, Britain will never attract world-class talent.

Fortunately, the three have included their names in the ring next year.

"Listen." Remember when I bumped into her backstage on Monday, and remember Lauren Byrne on Monday.

“If we do really well, we will continue to come back until we win.”

We remember, remember Monday.

See you next year in Vienna.