Photo: John Parra/Getty Images
Ozuna, Daddy Yankee and J Balvin
Ozuna, J Balvin & More Pay Tribute To Daddy Yankee At Premio Lo Nuestro
Yankee, whose career trajectory was honored with an award, performed his greatest hits including "Gasolina," Rompe" and "Lo Que Pasó, Pasó" alongside J Balvin, Ozuna, Yandel and more
Yankee, whose career trajectory was honored with the Lifetime Achievement Award, performed his greatest hits including "Gasolina," Rompe" and "Lo Que Pasó, Pasó" alongside J Balvin, Ozuna, Yandel, Zion y Lennox and De La Ghetto.
"I, my friends, my collegues first, the world thanks you," Latin GRAMMY winner Balvin said onstage after the performance, not reading from the teleprompter, but saying words from his heart. "Without Daddy Yankee reggaeton would not be the same in the world ... J Balvin wouldn't exist without Daddy Yankee."
Balvin continued: "A lot of the time we wait for people to leave this world to tell them how great they are, I'll take this moment to tell you face to face, thank you for what you have done for us."
Yankee thanked his fans and his "veteran" and "new generation" colleagues. "This is for you. Our genre has grown because there is unison, there is a brotherhood," he said. He also had encouraging words for his native Puerto Rico, sharing that anyone can be a positive vessel for change, no matter where they come from.
Reggaeton won big at the awards, which celebrate talented performers in Latin music: Ozuna took nine awards including Male Artist Of The Year, Balvin took the Premio Lo Nuestro Artist Of The Year award for the third consecutive year and urban artist Natti Natasha took home four awards including one for her collaboration with Becky G.
A full list of winners can be found on the Premio Lo Nuestro website.
Photo: Amy Lee
New Music Friday: Listen To New Songs From Andre 3000, Drake, Ozuna & More
From long-awaited debut albums to surprising singles, listen to these six new releases from Nov. 17.
With Thanksgiving around the corner, this New Music Friday offers us a feast of new sounds from some of the music industry’s biggest artists.
Country star Maren Morris teamed up with Teddy Swims for a passionate duet version of his song "Some Things I'll Never Know," while Steve Aoki & ERNEST paired up for an energetic dance/country crossver, "Us," from Aoki’s HiROQUEST 2: Double Helix.
American band Bleachers unleash their wild side with "Alma Matter," from their upcoming self-titled album dropping March 8, 2024. Meanwhile, alternative rock band Bad Suns released their catchy, six-track EP Infinite Joy. Across the pond, long-time British rockers Madness released their 13th album, Theatre Of the Absurd Presents C’Est La Vie.
With sultry sounds from R&B songstress Ari Lennox to mellow, indie rhythms from Dermot Kennedy to upbeat, radiant vibes from the duo Surfaces, this Friday brings a kaleidoscope of sounds from across every genre.
Along with the slew of releases mentioned above, press play on releases from the likes of André 3000, Drake, Ozuna, Lil Wayne and 2 Chainz, Danny Brown, and Bibi and Becky G — and be sure to add some new sounds to your rotation.
André 3000 - New Blue Sun
If you’ve seen Andre 3000’s impromptu flute performances in the past few years, then the GRAMMY winner's new sound won’t come as a shock. On his eight-track debut solo album New Blue Sun, the Outkast member experiments with wind instruments and percussion, creating serene and melodic compositions.
Across eight elaborately titled tracks — "I swear, I Really Wanted To Make A "Rap" Album But This Is Literally The Way The Wind Blew Me This Time" and "That Night In Hawaii When I Turned Into A Panther And Started Making These Low Registered Purring Tones That I Couldn’t Control… Shyt Was Wild," — Andre details his artistic journey and the possibility of returning to rap music. Because, as Andre has told numerous outlets, New Blue Sun is not a rap album.
In the future, fans might see 3000 return to the rap universe but in the meantime, let’s enjoy the ambience of the blue sun.
Drake - For All The Dogs Scary Hours Edition
It’s not Scorpio season without a release from the scorpion king himself, Drake. In the latest installment of his Scary Hours series, Drake brought in a heavy-hitter lineup of producers including Lil Yatchy and Alchemist.
With songs surrounding themes of betrayal and broken trust (an the less-than-subtle chant "F— My Ex" more than 10 times in one song), For All The Dogs Scary Hours Edition shows how deep the Certified Lover Boy is in his feelings.
Drake brings out his Swiftie side in the track, "Red Button," shouting out Taylor Swift with lyrics "Taylor Swift the only n—- that I ever rated/ Only one could make me drop the album just a little later/ Rest of y’all, I treat you like you never made it." Seems that the big-ups and grudges heard on October's For All The Dogs translate to Scary Hours, too.
Ozuna - Cosmo
After receiving a nod for Best Reggaeton Performance and performing with David Guetta at the 2023 Latin GRAMMYs, Puerto Rican Singer Ozuna dropped his sixth album, Cosmo. Filled with soon-to-be dance floor staples, Cosmo highlights Ozuna's versatility.
Songs like "El Pin" and "La Chulita" are full of infectious dance and Afrobeats influences, yet stay true to his reggaeton roots. The 15-track record also includes collaborations with Jhayco, Chenco Corleone, Anuel and David Guetta.
"When you think of a colorful image, you think of youth. When people listen to this album, I want them to take it seriously," Ozuna said in an interview with the Fader. "People want to hear what’s real, what’s clear-cut, in black and white.”
The goal, he continued, is to allow "people to know who the real Ozuna is."
2 Chainz, Lil Wayne - Welcome 2 Collegrove
Lil Wayne and 2 Chainz have joined forces once again to release their second joint album, Welcome 2 Collegrove. The album’s title is a melding of 2 Chainz's hometown of College Park, Georgia, with Lil Wayne’s Hollygrove, Louisiana.
Welcome 2 Collegrove includes features from a cross-section of hip-hop and R&B greats, including Usher, 21 Savage, Rick Ross, Benny The Butcher and Fabolous. Tracks like "Presha" and "Long Story Short" bring back the duo’s classic rap sound from their 2016 project COLLEGROVE, and show their ability to create hip-hop anthems. The special guest artists add even more depth to their songs.
Danny Brown - Quaranta
After a four year break, Detroit rapper Danny Brown is back with his seventh album, Quaranta. A departure from his earlier, more club-centric music, the 11-track album offers a new perspective in Brown’s life.
Quaranta is a turning point in Brown's musical journey, where he reflects on themes of regret, self-destructive behavior, and growth. While songs like "Ain’t My Concern" and "Celibate" still include his signature flair of fast, high-pitched verses, this album takes on a more mature and introspective route.
Bibi feat. Becky G - "Amigos"
On "Amigos," South Korean singer Bibi teamed up with Latin star Becky G for a multicultural but ever-relatable track that focuses on being hung up on past lovers despite having someone new in their life. "I know we had a good time and that you always want more / But if my boyfriend calls, we’re just friends, nothing more," they sing in Spanish.
"Amigos" is rife with hip-hop influences — a genre Bibi loves.
"Expressing oneself through lyrics is so real and genuine," BIBI told AllKPop. "As I’m someone who wasn’t necessarily gifted with natural musical talent — I didn’t even know the difference between boom bap or trap beats until way later. I think the other factors of music organically followed as I grew as an artist."
Photo: CRISTINA QUICLER/AFP via Getty Images
Watch: Ozuna & David Guetta Unveil Their New Collab "Vocation" At The 2023 Latin GRAMMYs
Just before Puerto Rican star Ozuna released his new dance team-up with French DJ David Guetta, the pair lit up the 2023 Latin GRAMMYs stage for an inaugural performance of their collaboration.
The 2023 Latin GRAMMYs were a big night for Ozuna. Not only did the Puerto Rican superstar walk in a nominee — his viral hit with Colombian singer Feid, "Hey Mor," received a nod for Best Reggaeton Performance — but he was also just hours away from releasing his sixth album, Cosmo. And to top it all off, he took the stage to perform his new collab with French DJ David Guetta.
Ozuna first opened his performance with a sexy solo rendition of "Hey Mor." Reflecting the darker edge of his Cosmo album, he sang the song in all black leather with a team of female dancers.
The performance turned colorful when Guetta joined Ozuna from behind his DJ deck for "Vocation," premiering the new track for the first time before its arrival on Nov. 17. Through a thermal vision lens, Ozuna brought the party alongside his latest collaborator as sparks literally flew around them.
Ozuna is no stranger to exploring the EDM genre. In 2018, he scored the global hit "Taki Taki" with DJ Snake, Selena Gomez, and Cardi B. Earlier this year, Australian trio PNAU enlisted Ozuna and Bebe Rexha for their dance track "Stars." "Vocation" marked the first time that the two global acts collaborated, and the performance served as Guetta's Latin GRAMMY Awards debut.
The Latin Urbano star is also no stranger to the Latin GRAMMYs. A 15-time nominee, Ozuna has won two Latin GRAMMYs to date, thanks to "Yo x Ti, Tú x Mí," his collaboration with Spanish pop star Rosalía that won Best Urban Fusion/Performance and Best Urban Song in 2020.
Photos Courtesy of Artists
2023 Latin GRAMMYs Performers: Peso Pluma and Eslabón Armado, Juanes, Ozuna, Camilo, Iza And More Artists Added
Additional newly announced performers for the 2023 Latin GRAMMYs include Pablo Alborán, Edgar Barrera, Manuel Carrasco, BORJA, Natascha Falcão, GALE, Paola Guanche, Joaquina, and León Leiden.
The Latin Recording Academy has announced additional performers for the 2023 Latin GRAMMYs. Current nominees Pablo Alborán, Edgar Barrera, Camilo, Manuel Carrasco, Iza, Juanes, and Ozuna along with Best New Artist nominees BORJA, Natascha Falcão, GALE, Paola Guanche, Joaquina, and León Leiden are confirmed to take the Latin GRAMMY stage. Additionally, Eslabón Armado and Peso Pluma will join forces to perform "Ella Baila Sola" for the first time together on television.
These artists join previously announced 2023 Latin GRAMMYs performers Maria Becerra, Bizarrap, Feid, Kany García, Carin León, Christian Nodal, Rauw Alejandro, and Alejandro Sanz, who are all current nominees, as well as the 2023 Latin Recording Academy Person of the Year, Laura Pausini
Latin GRAMMY winner and GRAMMY nominee Sebastián Yatra; Latin GRAMMY nominees and actresses Roselyn Sánchez and Danna Paola; and internationally acclaimed actress Paz Vega will host the 2023 Latin GRAMMYs, officially known as the 24th Latin GRAMMY Awards.
Pablo Alborán has five nominations including Record of the Year, Song of the Year and Best Pop Vocal Album. Edgar Barrera is nominated in 13 categories including Producer of the Year and Songwriter of the Year. Camilo is nominated in seven categories this year, including Album of the Year and Song of the Year. Manuel Carrasco is nominated for Best Traditional Pop Vocal Album, while Iza is nominated for Best Portuguese Language Urban Performance. Juanes is nominated in four categories including Album of the Year and Best Rock Song.
Taking place internationally for the first time ever, the 2023 Latin GRAMMYs will be broadcast from the Conference and Exhibition Centre (FIBES) in Sevilla (Seville) in Andalucía (Andalusia), Spain, on Thursday, Nov. 16. The show will air at 8 p.m. ET (7 p.m. CT) on Univision, UniMás and Galavisión in the U.S., and at 10:30 p.m. CET on Radiotelevisión Española (RTVE) in Spain. Additional international broadcasting partners and local airings will be available soon.
The 2023 Latin GRAMMYs will see the debut of several new Latin GRAMMY categories and a new Field, including Best Songwriter Of The Year, as part of the newly created Songwriting Field, Best Singer-Songwriter Song and Best Portuguese-Language Urban Performance. These new additions and amendments will make the 2023 Latin GRAMMYs an exciting, history-making night in Latin music.
More details about the Latin GRAMMY Premiere, where the majority of the Latin GRAMMY categories will be awarded, will be announced soon.
Photo: Timothy Norris/FilmMagic
The Sonic And Cultural Evolution Of Reggaeton In 10 Songs
Reggaeton is now firmly in the mainstream, with stars like Bad Bunny and Karol G topping charts with consecutive hits. But the genre has had a complex history and development over decades; read on for 10 songs that track reggateon's evolution.
Once a marginalized genre associated with lewdness and criminality — much like the genres from which it draws so much influence, dancehall and hip-hop — reggaeton is now firmly in the mainstream. While dominant across Latin America in the new millennium, reggaeton has made huge inroads with English-speaking audiences in the past decade, particularly with crossover hits like "Bailando," "Despacito," and numerous Bad Bunny songs from the past three years.
Although many associate reggaeton with Puerto Rico, the roots of the genre can be found in Panama, with artists like El General and Nando Boom taking Jamaican dancehall riddims — like dembow, first introduced in the Shabba Ranks song of the same name — and rapping in Spanish over them in the early 1990s. In Puerto Rico, early reggaeton was called "underground," and gained popularity in the mid-1990s through mixtapes put out by DJs like Playero and Negro, who utilized hip-hop techniques to alter the dancehall riddims as an instrumental track for local rappers and singers like Daddy Yankee.
Reggaeton has long been a male-dominated genre (with Ivy Queen being the main exception to the rule), but in recent years female singers have become more prominent. Colombian singer Karol G, for example, is currently one of the genre’s biggest stars, and Spanish singer Rosalía pivoted to reggaeton for her 2022 album Motomami, which won a Latin GRAMMY for Album Of The Year.
Colombian artists have also been making their way to the top of the reggaeton charts in recent years — alongside Karol G, there’s J Balvin and Maluma — although Puerto Rican artists still dominate the genre, with current stars like Rauw Alejandro and Anuel AA.
Reggaeton will only continue to evolve and develop; read on for 10 songs that represent the sonic and cultural evolution of the genre in the past three decades.
El General - "Tu Pum Pum" (1990)
Years before the term reggaeton was invented, Panamanian rapper El General (Edgardo Franco) was the first artist to gain recognition recording reggae en español. Given the history of West Indian immigration to Panama to build the Canal, it’s not surprising that the story of reggaeton begins there. This proto-reggaeton style emulated Jamaican dancehall much more closely than later styles would. El General and his friends got started by taking Jamaican riddims like the genre-defining dembow and rapping in Spanish over them; they used to board buses in Panama City and perform for fellow riders. El General was known as a skilled improvisor.
He moved to New York to study in the late 1980s, and hooked up with fellow Panamanian and producer Michael Ellis, who is said to have invented the term "reggaeton." El General’s first hit, "Tu Pun Pun" is a Spanish-language version of Jamaican dancehall artist Little Lenny’s 1990 song "Punnany Tegereg" that’s quite faithful musically to the original.
The title of the song is slang for female genitals, and the lyrics chronicle El General’s sexual prowess in graphic detail. Its chorus chants, "Your pum pum, baby baby, won’t kill (tame) me." The song became a hit in the U.S. and El General went on to have a successful, albeit brief, career.
Tego Calderón - "Pa’ Que Retozen" (2003)
One of the biggest tracks on Tego Calderón’s debut album, El Abayarde, "Pa’ Que Retozen" was a party anthem and one of the first reggaeton hits in the U.S. It represents the culmination of many musical shifts that took place during the 1990s in Puerto Rico. By the mid-1990s, the dembow riddim began to dominate the Puerto Rican underground scene. As the millennium approached, DJs and producers began to incorporate elements of Latin popular music genres as well.
"Pa’ Que Retozen" is a good example of this trend, as bachata-style guitar riffs play underneath Calderón’s rapping. The background track switches up several times in this song, including an incredibly catchy, high-pitched synth riff heard in the second verse. Other tracks on El Abayarde also incorporate Latin genres and instruments — like bongó drums on "Abayarde," Afro-Puerto Rican bomba percussion on "Loíza," and a full salsa orchestra and vocals on "Planté Bandera."
Ivy Queen - "Quiero Bailar" (2002)
Known as the "Queen of Reggaeton," Ivy Queen was the only prominent female reggaeton artist for nearly two decades. She released two albums in the late 1990s, but it was her third album, Diva, in 2003, that really broke through. Ivy Queen intentionally wrote from a female perspective, as she had come up in a male-dominated scene in San Juan where women were constantly being objectified.
With her deep, throaty vocal tone, Ivy Queen proclaims on "Quiero Bailar" that although she wants to dance — even in the sexualized perreo style that had become synonymous with reggaeton — that doesn’t necessarily mean she wants to have sex with her dance partner. The song is still an important anthem for women who want to feel free to bump and grind and express themselves on the dancefloor without men expecting a sexual encounter.
Don Omar - "Dile" (2003)
Three of the genre’s most influential artists exploded on the scene at roughly the same time: Calderón, Daddy Yankee and Don Omar, with the latter two involved in a rivalry for the title of "King of Reggaeton." However, Don Omar always stood out among the three for the lyricism of his voice — he was a more gifted singer than many of his peers.
His debut album, The Last Don, is considered to be a classic, utilizing a similar approach as Calderón of injecting more melodic Latin styles, like bachata and salsa, into his music. The Dominican production team Luny Tunes, who was instrumental in expanding the sound of reggaeton and distinguishing it further from its Jamaican roots, produced about half the album’s tracks.
Like "Pa’ Que Retozen," Don Omar’s first major single, "Dile" relies heavily on a bachata guitar line, but his vocal style is quite different from the deep, resonant rapping of Calderón. The combination of Don Omar’s tenor voice with the melodic instrumentals of "Dile" makes for a very aesthetically pleasing, yet danceable song. In addition, he interpolates a salsa song, Joe Arroyo’s "La Noche," into a bridge-like section in the middle of "Dile."
The subject matter is also more emotional than many reggaeton songs had been up to this point, as he’s pleading with a woman to tell her boyfriend that she wants to be with someone else (Don Omar).
Daddy Yankee - "Gasolina" (2004)
The first reggaeton song to be nominated for Record Of The Year at the Latin GRAMMYs, "Gasolina" still stands as the genre’s most iconic and recognizable song. The song catapulted not only Daddy Yankee into the mainstream, but also the genre itself. It appeared on Daddy Yankee’s third studio album, Barrio Fino, which broke numerous records and won many awards.
Barrio Fino took a broad approach, which proved incredibly successful. Many of the album’s tracks were produced by Luny Tunes, including its two biggest hits, "Gasolina" and "Lo Que Pasó, Pasó." The album also features a salsa-reggaeton fusion and an R&B-inflected rap song that sounds like it could have been recorded by Big Pun.
As for the concept behind "Gasolina," Daddy Yankee was living in a San Juan housing project with his family, where he often heard people on the street shouting, "iComo le gusta las gasolina!" ("How she likes gasoline!"), referring to women who accept rides from men with nice cars. He took that phrase and ran with it, creating the famous hook "A mí me gusta la gasolina, dame más gasolina" ("I like gasoline, give me more gasoline"). A decade later he laughed at the idea that the term "gasolina" referred to drugs — as many people assumed — claiming that he used it literally, to refer to cars.
"Oye Mi Canto" - N.O.R.E., feat. Nina Sky, Gem Star, Daddy Yankee, and Big Mato
Reggaeton exploded in popularity in the mid-aughts, which explains why there are so many classic songs from that time period. "Oye Mi Canto" was the first collaboration between an American rapper (N.O.R.E.) and reggaeton artists, and included verses in English and Spanish.
The song originally featured Tego Calderón but Daddy Yankee replaced him in the video. It also signaled an acceptance of reggaeton by New York hip hop artists — Fat Joe also appears in the video. It peaked at No. 12 on the Billboard Top 100, a first for a reggaeton song.
The song utilizes a common feature of commercial hip hop at the time, a catchy R&B hook sung by a female vocalist, Nina Sky. The hook borrows from and adapts the recognizable chorus "Boricua, morena, Boricua, morena," which was heard on Big Pun’s massive 1998 hit "Still Not A Player," but extends it to include other Latino ethnicities beyond "Boricua" (Puerto Rican).
Calle 13 -"Atrévete-te-te" (2005)
Hardly a traditional reggaeton group, Calle 13 nonetheless created one of the genre’s most popular, beloved songs in 2005 with their irreverent hit "Atrévete-te-te." Rapper Residente and instrumentalist/producer Visitante, step-brothers, founded the group in 2004, and gained fame with a song about the FBI killing of Puerto Rican independence leader Filiberto Ojeda Ríos called "Querido FBI."
Residente is the most politically outspoken rapper within reggaeton, a genre the two musicians have tended to distance themselves from, preferring not to be labeled. The group’s music has always been eclectic, using live instrumentation and unusual timbres. These elements undoubtedly relate to the fact that Visitante plays dozens of instruments. The brothers still hold the record for most Latin GRAMMY Awards in history, a whopping 27 each!
"Atrévete-te-te" is an infectious cumbia-reggaeton hybrid featuring an unforgettable high-register clarinet. Residente’s lyrics are raunchy, witty, and replete with American pop culture references and anglicisms. He dares a "Miss Intellectual" to get down off her culturally elitist high horse and let loose: "I know you like Latin pop rock, but reggaeton gets into your intestines, under your skirt like a submarine, and brings out your ‘Taino’ (indigenous people native to Puerto Rico)." He reinforces his point later, singing, "Who cares if you like Green Day? Who cares if you like Coldplay?"
"Bailando" - Enrique Iglesias feat.Descemer Bueno and Gente de Zona (2014)
In the 2010s reggaeton’s popularity continued to grow, and "Bailando" was one of the songs that significantly raised the genre’s visibility among English-language audiences. Nonetheless, Spanish pop singer Enrique Iglesias originally didn’t like the song.
"Bailando" was written and recorded by Cuban singer/songwriter Descemer Bueno and Cuban reggaeton duo Gente de Zona, who had become one of the island’s biggest musical groups. When Iglesias heard Bueno’s recording, he changed his mind and they added his vocals.
Garnering many awards, and winning Song of the Year at the 2014 Latin GRAMMYs, "Bailando" was flamenco-infused reggaeton designed for mass appeal. It follows a traditional pop song format, with Iglesias singing the verses and trading off with Gente de Zona and Bueno in the extended chorus sections. The lyrics are standard love song fare, and don’t include any of the rapped vocals or Cuban slang that had made Gente de Zona so popular in Cuba. Nonetheless, it peaked at No. 2 on the Billboard Hot 100 and spent a record-breaking 41 weeks at the top of the U.S. Latin charts.
"Despacito" - Luis Fonsi featuring Daddy Yankee, with a remix feat. Justin Bieber (2017)
Love it or hate it, it’s impossible to ignore the cultural impact of "Despacito." It was already a huge hit in its original version, by Puerto Rican singer Luis Fonsi and Daddy Yankee. But when Justin Bieber called Fonsi up to inquire about doing a remix, it became 2017’s song of the summer.
Like "Bailando," the original version was already as much Latin pop as it was reggaeton, and although Daddy Yankee has some rapped vocals in the second verse, he’s mainly singing as well. The producers decided to use a Puerto Rican cuatro, which opens the song, in addition to an acoustic guitar in order to give the song a more local feel. One unique element was the insertion of a rhythmic break right before the chorus "Despacito" (which translates to "slowly") comes in. The way Fonsi breaks up the three syllables in the title word, taking his time with them, is a nice touch.
The Justin Bieber remix was released three months later, and maintained the song’s original rhythms and Daddy Yankee’s verses. An English verse was added for Bieber at the beginning of the song, and he sang the "Despacito" choruses in Spanish — the first time he’d ever sung in Spanish. It quickly rose to No. 1 on the Hot 100 charts, which gave Fonsi and Daddy Yankee their first No. 1 hit. It stayed at the top of the charts for 16 weeks, tying with "One Sweet Day," by Mariah Carey and Boyz II Men, and remained the longest-leading No. 1 single until 2019. "Despacito" also won Song and Record Of The Year at the Latin GRAMMYs.
"Titi Me Preguntó" - Bad Bunny (2022)
Bad Bunny is not only the most prominent artist in contemporary reggaeton — he was the biggest artist in the world in 2022. It’s impossible to list all of the accolades Benito Antonio Martínez Ocasio has attained in his short career, but here are a few: His latest, Un Verano Sin Tí, was the first Spanish-language one to be nominated for Album Of The Year at the 2023 GRAMMYs, he's been Spotify's most streamed artist in the world for three straight years.
Un Verano Sin Tí was a masterful achievement, showcasing a wide variety of contemporary Latin music beyond reggaeton, including Dominican dembow and mambo, bachata, electro-cumbia, and even indie rock — all anchored by Bad Bunny’s emo vocal style. The album is a celebration of Spanish Caribbean identity, paying homage as much to Dominican as to Puerto Rican music.
"Titi Me Preguntó" is not only one of the album’s biggest hits, but also one of its most complex tracks, featuring several discrete sections. It begins with a bachata guitar intro, followed by Bad Bunny’s rapped vocals accompanied by a sparse backbeat. His aunt is asking why he goes out with so many girls and won’t settle down. The body of the song speeds way up, keeping a sparse accompaniment, as Bad Bunny lists the names and cities of different girlfriends.
But there’s an interesting shift at the 2:15 mark, where the bachata guitar returns and we hear a woman’s voice admonishing him for being an f-boi. It’s followed by anguished Bad Bunny vocals singing, "I’d like to fall in love but I can’t." The music changes back to the sparse backbeat accompaniment when he sings: "I don’t even trust myself," and notes how many women say they want to have his first-born child. The singing returns, as a spooky electronica melody is added into the background mix: "Listen to your friend, I’ll only break your heart…I don’t know why I’m like this."
This is a man struggling with interpersonal demons, and this vulnerable masculinity (and his past refusal to conform to rigid gender norms) is precisely why Bad Bunny is so beloved by his female fans.