Puerto Rican superstar, Benito Antonio Martínez Ocasio, ‘Bad Bunny’, who globalised reggaeton by fusing it with trap and house music became the most streamed artist worldwide in 2025 after the release of his sixth studio album Debí Tirar Más Fotos (English: I Should Have Taken More Photos), which followed up the wildly successful Un Verano San Ti. The former was his most comprehensive but actually least creative album yet but still brought his typical eclectic fusion of pop, soul, reggaeton, mambo, dembow, bachata, cumbia, bossanova and more. Similar to its predecessor, DTMF is ostensibly a love letter to his Puerto Rican heritage but in fact, more conceptual both musically and lyrically. The central idea is the blending of old and modern Caribbean music which doubles as a reflection on culture and identity. The album features exquisite and lively production from Puerto Rican producers, ‘Mag’ and ‘Tainy’ amongst several other collaborators.
The opening track, NUEVAYol is an energetic and braggadocious banger, combining salsa with dembow and reggaeteon rhythms – a tribute to Puerto Rican immigrants in New York (‘Nuyoricans’). His autotuned crooning and rapping takes centre stage on VOY A LLeVARTE PA PR which returns to his catchy reggaeton format. Several tracks occupy a relatively familiar ground, repeating his usual reggaeton fusions: WELTiTA feat Chuwi – sultry and airy, Velda, featuring latin-trap superstar Omar Courtz – the most hard-hitting, Ketu TeCRE – the most melodic, EoO, raw and hard-hitting Perreo.
However, several tracks take a more provincial approach to Latin music. The smash-hit BAILE INoLVIDABLE is almost pure salsa with its fast-paced conga shuffle and earthy saxophone, courtesy of a live student orchestra out of San Juan, over which Bad Bunny serenades his homeland. Even more traditional is the melancholic, romantic, ode in the Bolero style, Turista, which is played on the güicharo. LO QUE LE PASO A HAWAii evokes Spanish folk music, complete with anti-colonial resistance themes (also a melodic highlight).
However, the most purposeful tracks are perhaps those that finely balance the old and new, the cosmopolitan and the local. For example, the chilly crooning on BoKeTE, with a vaguely ‘bachata’ bounce – perhaps the melodic peak of the album. El Club with a squeaky guitar tone and a house-style acceleration in the second half, references Afro-Carribean ‘Plena’ music. PIToRRO DE COCO is a limping, depressed reggaeton croon but seamlessly concluded with a thrilling Spanish guitar solo. Similarly, the synthesiser breaks up the vibrant, indigenous dance of CAFe CON RON featuring Los Pleneros de la Cresta. Also backed by Plena stylings in the background vocals and rhythm is the electropop title track DtMF. The story culminates with LA MuDANZA, a fast-paced rap over a salsa.
Lyrically, the album is on the surface about heartbreak but actually, highly metaphorical and sociopolitical. The majority of tracks can be read as a tribute to Puerto Rico, drenched in feelings of nostalgia and moments of reflection. Both lyrically and musically, it is a powerful embrace of local cultural heritage and musical tradition. The album is therefore also an allegory for Benito’s highly successful musical career and a commentary on his role in carrying the flag for latin music.
Released: January 5, 2025
Label: Rimas
Losing My Edge Rating: 8/10
Best Tracks: NUEVAYol, BOKeTe, LO QUE LE PASO A HAWAii, CAFe CON RON