Since the 16th century, there have been records of students singing songs in the streets of Coimbra, where the classical and the popular blended together naturally. Unlike Lisbon Fado, which originated in taverns and fado houses, Coimbra Fado is characterised by its serenade-like essence, and is traditionally performed in streets and squares under the cover of night. It is a fado that invariably evokes love and longing: for the beloved woman, for the city and for the Academy.

The Portuguese guitar from Coimbra is one of the most iconic elements of this musical genre. Unlike the guitar from Lisbon, it has a larger body, is tuned one tone lower and its scroll is shaped like a teardrop, symbolizing the melancholy that permeates the repertoire. Furthermore, the lyrics and music of Fado de Coimbra are not limited to the popular tradition; many of the poems performed were composed by illustrious poets who studied at the University, enriching the depth and lyricism of the songs.

Great figures of the Song of Coimbra have left a profound mark on its history. Edmund Bettencourt, with his voice and refined poetry, consolidated the genre at the beginning of the 20th century. Antonio Menano, known for his powerful interpretation, is another prominent name. Already in the second half of the 20th century, Jose Afonso brought innovation to the genre, introducing themes of a social and political nature, without ever abandoning the nostalgic spirit that characterizes this music. Other names such as Luiz Goes, Fernando Machado Soares e Adriano contributed to the enrichment and diversification of the repertoire.