Bosio and Alberti reunited Soda Stereo in 2020 for the Gracias Totales tour, which featured several guest singers including Cerati's son Benito and Coldplay frontman Chris Martin, before disbanding again in 2022.

Cerati first joined Bosio's group The Morgan, then formed Stress with Charly Amato and drummer Pablo Guadalupe, also working on the project Erekto with bandmate Andres Calamaro.

[15] The success of the band began at a very peculiar time, related to the return of democracy to Argentina (10 December 1983), but also to increasing notions of postmodernism, particularly in the way the 1980s youth found their role in a newly democratic society that had just emerged from bloody dictatorship and war.

Our attention was on punk and on trying to show that there was something else that was more direct[16]On 13 October of that year, Soda played in front of a large audience in Buenos Aires as part of the third night of the Festival of Rock and Pop Held at the José Amalfitani Stadium home of the soccer club Velez Sarsfield .

With its lead single "Persiana Americana" (:es) (American Blinds), Signos was a key step for Soda Stereo, who had come under a great deal of stress due to ever increasing sales expectations, external pressures, the risk of failure, and internal tensions.

In early 1987 Soda returned to Chile, this time to the Viña del Mar International Song Festival where they won the prize "Antorcha de Plata" (Silver Torch).

The Signos tour was a milestone for Soda as they played 22 concerts in 17 cities to almost 350,000 fans, in the process opening up the idea that Latin Rock can transcend the nationalities of the bands, something that would come to fruition in the upcoming decade.

To top a stellar year, Soda headlined the Three Days for Democracy Festival, which took place in Buenos Aires on the intersection of Avenida del Libertador and 9 de Julio.

The show was attended by 150,000 people and Soda shared the stage with Luis Alberto Spinetta Fito Páez, Los Ratones Paranoicos, Man Ray [es], and others.

Near the end of 1989 Soda records a new version of "Languis" (from Doble Vida) and a new song titled "Mundo de Quimeras" (World of Chimeras).

The cities visited in Argentina were: San Juan, Santa Fe de la Vera Cruz, Junín, Clorinda, Puerto Iguazú, Trelew, Neuquén, Santa Rosa, Trenque Lauquen Mendoza, Córdoba, Río Cuarto, Santiago del Estero, San Miguel de Tucumán, Salta, Rosario, Buenos Aires, Olavarria, Pergamino.

Heavily influenced by Melero's experimentation with electronic music, it was stylistically not indicative of Cerati's "rock-centered" works, instead choosing to follow a drastically different pattern containing elements from neo-psychedelia and dream pop.

Surrounding the band's rushed decision to change record companies from BMG to Sony immediately before the disc's release, Dynamo failed to sell as expected, and remains the lowest-selling album of Soda's career today.

[28] Despite these challenges, Soda began their sixth tour of Latin America to begin 1993, during which time Cerati officially kickstarted his solo career with the release of Amor Amarillo, his debut album.

This event would deeply affect Zeta on both a personal and professional level, and surrounding his inability to work and growing dysfunction within the band, Soda unanimously decided to take a hiatus to possibly mediate the decision of separating permanently.

Cerati explored his solo career, Zeta dedicating himself to the production of other bands (Peligrosos Gorriones and Aguirre), while Alberti disappeared from the music scene to focus on personal projects.

This motif is symbolic of the album's concept, and is even used as a focal point in the music video for "Ella usó mi cabeza como un revólver", a single from the recording.

[30] The album was powered by the radio hit "Zoom" and the promotional video for "Ella usó mi cabeza como un revólver", which in 1996 won the Viewer's Choice Award presented by MTV Latin America.

On 30 October 1996 Soda Stereo became the first Latin American band to transmit a live concert via the Internet, through the Argentine radio program Cuál Es?

[33] The show ended with the song "De Musica Ligera" and a memorable farewell by Cerati: (Original, Spanish) ¡No solo no hubiéramos sido nada sin ustedes, sino con toda la gente que estuvo a nuestro alrededor desde el comienzo; algunos siguen hasta hoy!

Near the end of 2003 Sony Music announced the release of the first DVD by Soda Stereo, which contained much unreleased material from compiled by Gustavo, Zeta, Charly, and people close to the band.

It also included a multi camera option for a soundcheck of "Primavera 0" and a 25-minute documentary about the tour featuring footage of sound checks and concerts in Mexico, Venezuela, and Argentina.

[37] On 20 September 2007, exactly 10 years since their last concert, Soda Stereo gave a long-awaited press conference at the Club Museum in Buenos Aires, in a historical building designed at the turn of the century by the famous French architect and structural engineer Gustave Eiffel.

The show opened with a recording of "Algun Dia" their cover of Queen's "Someday One Day" meanwhile images of the history of Soda Stereo appeared in the background.

Three extra songs were played for this show, "Si No Fuera Por", "Terapia de Amor Intensiva", and "Lo Que Sangra (La Cúpula)".

The band was joined by Andrea Álvarez for "Picnic en el 4B", Richard Coleman for "No Existes", Fabián "Zorrito Vön" Quintiero for "Danza Rota" and "Profugos", Carlos Alomar for "Lo Que Sangra (La Cúpula)" and "Terapia de Amor Intensiva", and Gillespie for "Signos" and "Fue".

Among the most influential artists for the band sound are the Beatles and solo careers of George Harrison, Paul McCartney and John Lennon; the Police, the Cure, Echo & the Bunnymen, Television, Talking Heads, Elvis Costello, David Bowie, Virus, XTC, the Specials, Squeeze, Pink Floyd, Luis Alberto Spinetta, Queen (in 1997 band recorded tribute song "Algún día"), My Bloody Valentine and Cocteau Twins.

[46][47][48] It was the first band to come out strongly in the local limits of their country of origin and to consider Latin America as a unified cultural space for the language, including the US.

[49] In many parts of Latin America, including Colombia, "Soda Stereo became the expression of the musicality and poise of a new generation, one which tried to differentiate themselves from that of those in their thirties in the 1980s who preferred the Dominican merengue, by beginning to listen and sing rock in Spanish.

"[50] In Chile, Soda not only marked a whole generation with their looks, lyrics and music, but especially by way of the intense emotional relationship developed between the band and its fans, which was a decisive factor to "de-nationalize" the band and make it an expression, and not only young people in a particular country, but youth as a sector uniform social issues and common languages, something that rock and roll had not been achieved so far in the Spanish-speaking countries due to language barrier.