The main focus of this research is to consider how Gilberto Gil forged new artistic paths from the second half of the 1970s, and how these paths dialogued with ideas previously set forth by the Tropicalia movement, as well as with various transformations that marked that historical moment and his artistic and existential trajectory. Thus, this study seeks to inquire to what extent the bahian composer continued the initial rupture gesture of Tropicalist music and what new ideas and approaches emerged in his creative journey during the period. To this end, I will analyze the album Refazenda (1975), which was presented at the time, in interviews, statements, and manifestos, as an album developed around a concept. This work can help us understand how Gil thought, in his songs, about themes related to culture, the country, and the craft of the popular composer. The research proposes an analysis of the mentioned album, contextualizing it historically, recovering its critical reception, and situating it within Gil s trajectory. Testimonies given and texts written by the composer during and after this period will be the main guides in the effort to capture the changes in perspective and reflections that marked the album and its developments. With this, I aim to consider possible continuities, discontinuities, reformulations, and denials of Tropicalist ideas through reflections and songs from one of its main architects in popular music.