There is right side and there is a flip side. Heads and tails. The Yin and the Yang. Then, happily for all of us, there are those who, through talent and conviction, merit and hard work, succeed in showing us that the world is not all black and white but is, in fact, many-coloured, multiply shaded and diversely hued and that bridges and syntheses are both possible and desirable. António Zambujo has earned a special place amongst this group of architects, always refusing – by dint of instinct, belief and artistic necessity – to remain confined to a single style, a school, a genre. At his own pace, he has crafted a sweeping heritage that is all his own; one that, like Do Avesso, reaffirms in full, works in open space, without narrow compartments, and with total, natural communication between all corners of the house. Just note, for example, the new songs that have led the singer to bring in an orchestra, the Lisbon Sinfonietta, and those others where he is accompanied by a single instrument, be it the piano or the acoustic guitar. One of the healthily distinctive features of this path, which is only superficially paradoxical, is thus revealed – the more he diversifies his targets of interest, the more he erases the boundaries of stereotypes and of formats, the more António Zambujo establishes his musical personality, which is so much more than just his voice, itself unmistakeable.