As a result of the global society, the mass culture influences would be felt progressively over the following decades. This context modified fado’s relation with the Portuguese market, centred on popular music with an intervening character while simultaneously absorbing many of the musical forms created abroad.

In the years immediately after the revolution, the two years interruption of the contest Grande Noite do Fado and the radical decrease of fado’s presence at radio or television broadcasts testify the hostility towards fado.

In fact, only when the democratic regime became stable, in 1976, would fado regain its own space. The following year the album Um Homem na Cidade was released by one of the biggest names of Lisbon’s urban song, a central figure of fado’s internationalization. As no other, the owner of a solid 45 years career has articulated the most legitimate fado tradition to an unending ability to recreate it.

As the ideological debate around fado gradually comes to an end, it was mostly since the 1980s that fado consenso is recognized its central position in the scene of the Portuguese musical patrimony. The market showed a renewed interest for Lisbon.s urban song, as testified by the increasing attention given by the discographic industry through the re-edition of recorded registries, fado.s gradual interpretation in the popular festivities circuits at a regional scale, the progressive appearance of a new generation of interpreters, and even the approach of singers from other areas to fado such as José Mário Branco, Sérgio Godinho, António Variações and Paulo de Carvalho.

In the years immediately after the revolution, the two years’ interruption of the contest Grande Noite do Fado and the radical decrease of fado’s presence at radio or television broadcasts testify the hostility towards fado.

In fact, only when the democratic regime became stable, in 1976, would fado regain its own space. The following year the album Um Homem na Cidade was released by one of the biggest names of Lisbon’s urban song, a central figure of fado’s internationalization. As no other, the owner of a solid 45 years career has articulated the most legitimate fado tradition to an unending ability to recreate it.

As the ideological debate around fado gradually comes to an end, it was mostly since the 1980s that fado consenso is recognized its central position in the scene of the Portuguese musical patrimony. The market showed a renewed interest for Lisbon.s urban song, as testified by the increasing attention given by the discographic industry through the re-edition of recorded registries, fado.s gradual interpretation in the popular festivities circuits at a regional scale, the progressive appearance of a new generation of interpreters, and even the approach of singers from other areas to fado such as José Mário Branco, Sérgio Godinho, António Variações and Paulo de Carvalho.

Internationally there is also a renewed interest in local musical cultures. Amália Rodrigues and Carlos do Carmo are notorious among fado most famous names in the record industry, the media and live shows.

In the 1990s, fado would definitely cement its position in the international World Music circuits with Mísia and Cristina Branco, in the French and the Dutch circuits, respectively. Another emerging name in Fado.s panorama is Camané. In the 1990s and the turn of the century a new generation of talented interpreters appears: Mafalda Arnauth, Katia Guerreiro, Maria Ana Bobone, Joana Amendoeira, Ana Moura, Ana Sofia Varela, Pedro Moutinho, Helder Moutinho, Gonçalo Salgueiro, António Zambujo, Miguel Capucho, Rodrigo Costa Félix, Patrícia Rodrigues, and Raquel Tavares. In the international circuit, however, it is Mariza who conquers an absolute protagonism, drawing a fulgurant pathway during which she has won successive prizes in the World Music category. Museu do Fado