Puerto Rico and Caribbean Nostalgia: The Keys to Bad Bunny's New Album

Each new album from Benito Martínez Ocasio (Puerto Rico, 1994), known as Bad Bunny, generates a global phenomenon: massive success and controversy in equal measure. His sixth studio album, 'DeBÍ TiRAR MáS FOToS', embodies this contrast. From those who dismiss it without listening to it, to those who see it as a key and enjoyable work, Bad Bunny continues to redefine Latin music and demonstrate that to dominate the world, you don't need to forget where you come from. Next, we explore the keys that make this album an essential work in his career and in contemporary music.

It's a declaration of love for Puerto Rico

The Puerto Rican had already announced that this album would be an ode to his country and the beautiful people who inhabit it. From the first song, 'NUEVAYoL', the album revisits an iconic salsa from the 70s that talks about those who had to emigrate, even citing the owner of the Caribbean Social Club, a meeting place for Caribbeans in New York. Instead of relying on superstars for collaborations or production, Bad Bunny bets on local artists and, for the sequences with salsa or merengue, has counted on the talent of young students from the Escuela Libre de Música de San Juan, Puerto Rico. The arrangements of winds and percussion reach a level of quality and daring that is enormous.

More than reggaeton and perreo

This is not an exclusive reggaeton album, but a tribute to Caribbean music in all its diversity. Throughout 'DeBÍ TiRAR MáS FOToS', Bad Bunny boldly mixes genres, moving from dembow to merengue, salsa, bomba, plena, jíbaro, trap, and house, often in a single song.

Bad Bunny's lyrics are often described as simplistic, dirty, incorrect, or bold, but this album shows that urban art can also be political and emotional. Although it discusses usual themes such as sex, fame, or money, it also addresses social issues like gentrification, poverty, blackouts, and forced migration. It's not that he's going to win the Nobel, but lyrics like those in 'TURiSTA' or 'LO QUE LE PASÓ A HAWAii' explore the relationship between missing your home and not being able to forget a lost love. This melancholic component is also reflected on the album cover, which features two empty chairs, symbolizing both personal and collective absences. Additionally, unlike many artists of his stature, Bad Bunny is the composer of all the lyrics he performs, crediting others when appropriate, as is the case with Pau Donés in a specific phrase from 'La Flaca'.

The critics are enchanted

The album has a score of 98 out of 100 on the content aggregator Metacritic, which gathers much of the planet's music criticism. The main media have highly praised it.

And so has the public. A millionaire without ceasing to be from the neighborhood, Bad Bunny is the most listened-to artist worldwide on all platforms, has sold out all tickets for the 30 concerts announced in Puerto Rico (the first 9, exclusively for residents) in 4 hours, and breaks records both on the charts and on the dance floor. Benito demonstrates why he continues to be one of the most relevant stars in the global music scene. This is an album that invites not only to listen but also to reflect and celebrate the diversity of Latin music and all that unites us.

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