Bad Bunny is a Boricuan artist whose musical evolution has transcended borders. From his early days in Latin trap to his meteoric rise as a global phenomenon, Bad Bunny has consistently infused his work with socio-political commentary, cultural pride, and musical innovation. His sixth studio album, DeBí TiRAR MáS FOToS, continues this trajectory, blending a mix of genres that honour Puerto Rican musical heritage, such as salsa, plena, bomba, and old-school reggaeton while making it have a contemporary sound. This project is undeniably an ode to the music and culture of Puerto Rico. The title DeBí TiRAR MáS FOToS (‘I Should Have Taken More Photos’) is a message to treasure what you have now and take in every moment. Through this release, Bad Bunny pays homage to these beloved traditions while calling attention to issues of gentrification, displacement, and the island’s ongoing fight for political independence. Many of his songs carry a double meaning, blending the heartbreak of a personal relationship with his country’s struggles and love. He manages to merge both themes, allowing the listeners to have the experience they relate to. With the album’s release came a short film that offers an insightful look into how much the island has changed, illustrating how the language, people, and environment are now unrecognisable from what they once were. The film highlights the contrast between Puerto Rican generations, but the line ‘siguen aquí’ (we’re still here) reinforces the resilience and community of Puerto Rican culture.

This project is undeniably an ode to the music and culture of Puerto Rico

The album kicks off with ‘NUEVAYoL’, which samples El Gran Combo’s 1975 salsa classic, ‘Un Verano en Nueva York’. By starting the album this way, Bad Bunny immediately bridges generations, bringing the past and present together. As the track seamlessly transitions into a Caribbean dembow rhythm, he showcases his ability to blend multiple genres with ease. This choice serves as a perfect opening, reflecting the theme of generational connection, which is also echoed in the short film that accompanies the album. Following this is ‘VOY A LLeVARTE PA PR’ (‘I Will Take You to Puerto Rico’), which carries pride in wanting to bring someone there, ‘pa’ que veas como es que se perrea’ (‘so you can see how we dance’); it showcases his love for the island’s culture. His lyrics, ‘aquí nací yo y el reggaetón, pa’ que sepas’ (‘I was born here, and so was reggaeton, just so you know’), are a bold declaration of his roots and his contribution to the genre. Bad Bunny’s words serve as a testament to Puerto Rican culture, one of the birthplaces of reggaeton, which continues to evolve today. The track also incorporates several nods to reggaeton’s classic hits, further deepening its connection to the genre’s legacy. Lines like ‘Voy cazando y muero perreando’ pay homage to ‘Cazando Voy’ by Ángel Y Khruiz, while ‘Pa’ atrás, pa’ atrás…chulería’ references ‘La Barra’ by Wisin & Yandel. The line ‘Me quiere besar, yo le puse mal’ samples ‘Me Quiere Besar’ by Alexis y Fido. These references not only enrich the track but also celebrate reggaeton’s past while pushing its sound into fresh, new territory.

One of the standout tracks, ‘BAILE INoLVIDABLE’, seamlessly blends different beats that reflect the artist’s growth. The song feels like a journey through love, evolving from heartbreak to a triumphant dance anthem. Especially in the second half, where the beat takes an unexpected but delightful turn to a salsa track. The intricate instrumental section, highlighted by a soulful piano solo and complex rhythms, makes this one of Bad Bunny’s most ambitious and elaborate tracks to date. Before the beat changes, the voice of Jacobo Morales from the video plays, saying, ‘Mientras uno está vivo, uno debe amar lo más que pueda’ (‘While you’re alive, you should love as much as you can’). This collaboration of different elements in the song showcases how much thought and meaning has gone into this project. On my first listen, I interpreted it as a reflection on different generations, showing how they passed down everything they knew: love, dance, and culture, and how he will never forget them. However, the song can also be seen as a commentary on love itself. It begins with a sense of what might have been; the hope of growing old with someone, but it can equally be seen as a breakup anthem or a celebration of love in its many forms.

Bad Bunny bridges past and present with each beat

Teaming up with RaiNao, Bad Bunny delivers ‘PERFuMITO NUEVO’, a track that feels like the perfect end-of-night club anthem. Its instrumental progression mirrors the winding down of a night out, creating a smooth, reflective atmosphere. On ‘WELTiTA’, Bad Bunny and Chuwi craft a breezy, summer-inspired track with a refreshing fusion of instruments. The light, calming vibe evokes lazy afternoons. It is reminiscent of songs like ‘La Flaca’ by Jarabe de Palo. The track ‘VeLDÁ’ has a nostalgic feel; it takes me straight to the reggaeton days of the early 2000s, with a sound reminiscent of ‘Bien Loco’ by Nova and Jory. As the song progresses, it pays homage to reggaeton legends like Wisin, whose recognisable voice is in the outro, further grounding the track in the genre’s rich history. Bad Bunny bridges past and present with each beat. ‘EL CLúB’ starts as a slow breakup track, evoking the message of wondering what your ex might be doing. It then transforms into a club anthem as house music morphs into plena, only to switch back to a more introspective and bittersweet tone, capturing the chaotic yet celebratory nature of nightlife. Similarly, ‘KETU TeCRÉ’ and ‘KLOuFRENS’ introduce a rugged sound, blending both a party anthem and a melancholic reflection.

A slower track, ‘BOKeTE’, delves into themes of love, betrayal, and personal growth. The lyrics, poignant and raw, explore both heartbreak and the emotional evolution that comes with it. The song’s use of the word “boquete” (hole) doubles as an analogy, referencing not only a bump in Benito’s love life but also the potholes in Puerto Rico’s streets which have been neglected. Like ‘BOKeTE’, ‘TURiSTA’ illustrates a double meaning; it highlights Puerto Rico’s commercialisation and the disillusionment with tourists who pass through without understanding its deeper struggles. The guitar riffs enhance the song’s melancholy, capturing heartbreak tied to both a person and a place. It could also be understood as Bad Bunny telling a story of a former lover who never truly knew him or his past pain. The track also critiques tourists who visit Puerto Rico, enjoying its beauty but ignoring its history and issues. ‘CAFé CON RON’ blends one of Puerto Rico’s most revered musical traditions, plena, with Latin club influences to create a lively yet deeply introspective track. Featuring Los Pleneros de la Cresta, Bad Bunny taps into the authenticity of Puerto Rican culture, paying homage to its roots. Plena has long served as a tool for Puerto Ricans, particularly the working class, to voice their struggles and critique society. In this track, Bad Bunny channels that same spirit of resistance and defiance, using the genre for an upbeat and enjoyable hit.

Bad Bunny warns against the erasure of the island’s traditions in the face of rising tourism and corporate development.

The song ‘PIToRRO DE COCO’ is about longing and yearning after a breakup, with Bad Bunny singing, ‘Te pedí pa’ los Reyes y pa’ Santa Claus’ (I asked the Wise Men and Santa Claus for you). This line highlights the emotional distance between him and someone he misses, wishing for their return but acknowledging the separation. With the album release being the day before El Día de Reyes (Three Wise Men’s day), its timing is especially significant, resonating with the island’s holiday traditions while also adding a personal touch to the narrative. ‘LO QUE LE PASÓ A HAWAii’ is a politically charged track that addresses the gentrification and over-tourism threatening Puerto Rico’s identity and culture. With sharp lyrics and a powerful message, Bad Bunny warns against the erasure of the island’s traditions in the face of rising tourism and corporate development.

The next track, ‘EoO’, is packed with references and samples that pay homage to reggaeton history. Midway through, it samples ‘Solo De Mi’ by Bad Bunny, with the line ‘Mira, puñeta no me quiten el pe-‘ that adds a playful touch to the song. It also includes a nod to ‘Perreo Baby’ by Héctor & Tito, with the line ‘perreo, baby, sobeteo, baby’, evoking a sense of nostalgia for fans of the early 2000s reggaeton scene. The track further alludes to the distinctive ‘tra-ta’ sound found in Héctor y Tito’s A La Reconquista album, cementing its connection to the golden era of reggaeton while blending in fresh, modern energy. On ‘DtMF’, the title of the track plays into the album’s themes, offering a layered meaning that could be interpreted as both a reflection on Puerto Rico and a relationship. At first, it seems like he’s talking about his homeland, but it soon becomes clear that he’s speaking about a girl, creating a dual meaning that allows listeners to connect on different levels. The end is paired with a fun, energetic drum beat that amplifies the carefree and community feeling of the track. It’s a song that blends personal reflection with a party atmosphere, making it easy for fans to find their own meaning in the lyrics.

It’s a song that blends personal reflection with a party atmosphere, making it easy for fans to find their own meaning in the lyrics

Closing the album, ‘LA MuDANZA’ (‘The Move’). The song paints a picture of his parents moving, meeting, and eventually having him. There’s an element of gratitude too, as he cheers for their perseverance, despite their eventual breakup.  It’s intriguing how the opening track, which references New York, bookends with a song about migration, creating a full circle of experiences tied to both places. Musically, the song blends salsa and rumba, giving it a danceable, celebratory tone while still carrying emotional weight. With the light blue flag reference, Bad Bunny firmly establishes his identity and pride for Puerto Rico, declaring, ‘Dile que esta es mi casa, donde nació mi abuelo’ (‘tell them this is my house, where my grandad was born’). The track also nods to earlier themes in his discography, notably referencing ‘P FCKN R’, connecting his past and present work.

 

9/10 

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