As Bossa Nova had done in the early 60s, Tropicalismo challenged many traditional concepts of Brazilian music. The musical forms and lyrics broke with social norms and therefore drew heavy criticism from many quarters. Caetano Veloso, one of MPB's giants and an avowed bisexual, at times would appear on stage wearing make-up and a dress. Because of the movement's strong popular following, the regime felt threatened and jailed some of Tropicalismo's best-known artists.
Compositions range from stylizations of simpe folk tunes to avant-garde sound collages.
Song is used to address social issues, to voice protest of authoritarian control, to make aesthetic statements, and to explore philosophical and spiritual themes. They were likened to the ancient troubadours who blended words and melodies in compositions for performance. Such terms as 'modern Brazilian popular music,' 'cultured urban popular music,' and 'erudite popular music' were used to draw attention to this new musical consciousness and sophistication.