Bad Bunny is making history with his residency. It's not the first time he set records.
Since his 2018 debut album, he's used his singular songs, bold fashion and social activism to amass a worldwide fandom and set industry records.
So it's not surprising that when the 31-year-old star announced his first concert residency earlier this year, he triggered a frenzy. The 30-date residency at Puerto Rico's largest arena, Coliseo de Puerto Rico, sold out in four hours and caused long lines of locals who waited to buy the tickets for the first nine shows, which are intended for the island's residents.
Bad Bunny's residency, aptly named No Me Quiero Ir de Aquí (I Don't Want to Leave Here), is poised to be the largest in Puerto Rico's history and is expected to deliver a boon to its economy and visibility.
Later this year, Bad Bunny will embark on the Debí Tirar Más Fotos world tour, which features more than 50 shows across four continents. It starts Nov. 21 in Santo Domingo, Dominican Republic, and ends in Brussels, Belgium, on July 22, 2026. There have been no U.S. dates announced for the tour.
As Bad Bunny's Puerto Rico residency kicks off July 11, we look back at some of his record-setting accomplishments.
Last year's best Latin albums: From Shakira to Peso Pluma and Becky G
First all-Spanish album to hit No. 1 on Billboard
Bad Bunny is familiar with chart success, boasting several No. 1 albums and 15 No. 1 hits on Billboard's Hot 100. But it was his third album, "El Último Tour del Mundo," that guaranteed him a spot in the history books. The 2020 reggaeton release was the first all-Spanish language album to reach No. 1 on Billboard's albums chart. Benito replicated that feat with his next three albums – "Un Verano Sin Ti" (2022), "Nadie Sabe Lo Que Va a Pasar Mañana" (2023) and "Debí Tirar Más Fotos" (2025) – which all snagged No. 1 spots on Billboard.
First all-Spanish album to get a Grammy album of the year nomination
Bad Bunny's 'Un Verano Sin Ti' is a 23-song trove that spent a whopping 13 weeks in the top chart position. The commercial triumph was mirrored by critical acclaim and led the industry insiders of the Recording Academy to nominate it for album of the year at the 65th Grammy Awards. While the win went to Harry Styles' "Harry's House," Bad Bunny's inclusion in the highly competitive all-genre category marked a new height in Latin music history.
Bad Bunny was also the first artist to win a best música urbana album Grammy after the category was introduced at the 64th awards for his "El Último Tour del Mundo" album.
Most streamed album on Spotify ever
Streaming has been good to Bad Bunny. He's consistently among the most streamed global artists, finding himself among acts like Taylor Swift, Beyoncé, Post Malone, Ed Sheeran and The Weeknd on lists of popular listens. In fact, his "Un Verano Sin Ti" is the most streamed album on Spotify. Ever.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Los Angeles Times
4 minutes ago
- Los Angeles Times
For your consideration: Indie artists who deserve Latin Grammys in 2025
Juan Luis Guerra. Natalia Lafourcade. Jorge Drexler, Caetano Veloso and Shakira. Clearly, Latin Grammy voters have demonstrated time and again some excellent judgment when it comes to highlighting artists who know how to make a beautiful record or two. At a time when la música latina continues to experience a state of grace — both in commercial and creative terms — the upcoming nominations are likely to include most of the major contenders who dropped new music between June 1, 2024 and May 30, 2025. But what about the singers and musicians who are evolving the genre without the benefit of a powerful record label or high-profile publicity campaigns? Some of the most progressive, forward-facing records of the 2024-25 season are likely to be ignored by the Latin Academy. With that in mind, we've assembled a select list of six Latin artists who should be celebrated. A few may show up when the nominees are announced on Sept. 17 — but each of them deserves a Latin Grammy. In a perfect world, 'Anónimo,' the sophomore effort by Argentine digital sorceress Juana Aguirre, would be an obvious candidate for album of the year. Of course, many artists before her have dabbled in the avant-garde deconstruction of the songwriting craft — fellow experimentalist Juana Molina comes to mind. What places Aguirre miles ahead of the competition is not only the disturbing vulnerability of her process — she records at home, in a lo-fi setting, driving herself mad with frustration by cutting and pasting until the disjointed bits and chirps of sound gel into a cohesive whole — but also the otherworldly beauty of the finished product. Aguirre lived in New Zealand and Bolivia before returning to the balmy Buenos Aires neighborhood of San Isidro, and her nomadic past may account for the assured, cosmopolitan vibe of tracks such as the folktronica lullaby 'Lo Divino' and the ghostly, Erik Satie-infused piano of 'Las Eamas.' A graphic designer and musician of unhinged imagination, she deserves plenty of accolades. One of the most brilliant singer/songwriters ever to emerge from Chile, Gepe is well established across the Americas and could very well be nominated for his luminous 2024 session 'Undesastre' — and if that turns out to be the case, well done, LARAS. It would be important, however, that his triumphant fusion of South American folk roots and nimble electronic beats is not relegated to the Alternative field. A session that glides effortlessly from bouncy, laid-back romantic anthems like 'Playaplaya' to stellar duets with the likes of Mon Laferte, Monsieur Periné and Café Tacvba's Rubén Albarrán deserves a place in the race for album of the year. A move-you-to-tears orchestral ballad of bone shaking intensity, the majestic 'Desastre' — it brims with eccentric sound effects and Beatlesque progressions — would be the most elegant possible choice for both record and song of the year. In conversation, Mabe Fratti is funny and unassuming. She makes silly jokes and describes her music-making progress with selfless glee, seemingly unaware of her own distinguished standing as a member of the Latin American avant-garde. A composer, cellist and ethereal singer, the 33 year-old Fratti was born in Guatemala and moved to Mexico City in 2015. The songs on this trendsetting fourth album are amorphous and crystalline, obsessed with finding beauty in the most faraway corners. 'Sentir Que No Sabes' has been hailed as a masterpiece by critics worldwide, from Pitchfork to the Guardian. Its brainy combination of jazz, classical, post-rock and dreamy synths could easily scare the most conservative faction of Latin Grammy voters — and that would be a grave mistake. As a member of Venezuela's turn of the century party band Los Amigos Invisibles, guitarist and composer Cheo — José Luis Pardo — got to enjoy a Latin Grammy win and several nominations. Sadly, he has kept more of a low profile since going solo in 2014. Creatively, however, Cheo remains a formidable composer and arranger. His 'Música Para Verse Bien' was one of the best albums of 2023, including 'Agujas en el Pecho,' a glorious duet with Monsieur Periné singer Catalina García. During the eligibility period for this year's ceremony, he released three separate volumes in the 'Refresco' series of EPs, paying homage to the genre strands that inform his music: tropical, funk and Brazilian. 'Si Estuvieras Aquí' underscores Cheo's weakness for bubbly Latin lounge, with electric piano flourishes and wordless vocals à la Henry Mancini. 'Vol. 3: Cheo Goes Brazil' is probably the most touching of the group, with remakes of two peerless Amigos Invisibles bossa novas: 'Playa Azul,' now sung by Cheo himself, and 'Las Lycras del Avila,' channeling Antonio Carlos Jobim's bohemian snapshots of Rio de Janeiro in the '60s, with a wistful melody on electric guitar. In 2022, Mariana de Miguel turned a seven song mini-album about life in Mexico City, 'El Sur,' into a late-night banquet of darkly hued dance-pop. This year, the artist known as Girl Ultra qualifies for the Latin Grammy on the strength of 'Blush:' a delicate EP made up of fleeting miniatures, noir impressions of EDM glamour. The architecture is more refined on shimmering pearls such as the hypnotic 'Blu' and the bratty 'Rimel.' But it is Girl Ultra's emotional maneuvering that turns 'blush' into an unforgettable experience. At first, these songs seem destined to provide the soundtrack for decadent one-night stands. Just beneath the surface, however, the hopeful longing in the singer's voice suggests that she may also be a romantic at heart. The top level production and Girl Ultra's masala-like blend of digital spices would more than justify a record of the year nomination for 'Blu.' Want a touch of genius? Try the 1:30 mark on the song 'Autoestima,' when everything stands still — and the stately chords of a church organ add a spoonful of madness to this tune about the negativity that permeates daily life in Buenos Aires. Since she emerged as a solo artist in 2012, Marilina Bertoldi has established herself as the resident hurricane of Argentine rock, blessed with a corrosive sense of the absurd, a knack for pop-punk melodies, and attitude to spare. Most importantly, her album 'Para Quien Trabajas Vol. 1' is tremendous fun, a wicked homage to the robotic drum machines and baroque synth lines that defined the '80s rock revolution in South America — from the classic albums of genre godfather Charly García to the radical moxie of Sumo, and the angular melodic sadness of cult band Metrópoli. Fortunately, you don't need to catch all the references in order to feel uplifted by Bertoldi's ball-of-fire songbook. The tracks are firmly planted on the now, from the elegant decay of 'El Gordo' to the vulnerable 'Por Siempre Es Un Lugar.' Bertoldi's albums have been nominated three times in the past, but the rock and alternative fields are simply too narrow and myopic for this brash, self-produced gem.
Forbes
5 minutes ago
- Forbes
Lisa Breaks Her Tie With Jennie And Matches Rosé
Every week that Maroon 5 and Lisa's collaboration 'Priceless' holds on Billboard's pop radio charts, the tune makes history in one way or another. The combined star power of both acts ensured that the duet reached all three of the company's airplay rosters focused on pop music, and it hasn't faded from them in the months since it dropped. For the most part, 'Priceless' is still climbing, as it scores another week on the most competitive of the three lists. Lisa breaks out of a tie with one of her Blackpink bandmates and matches another member of the group for a slightly better position in the ranking's annals this week. 12 Weeks on the Pop Airplay Chart 'Priceless' jumps from No. 19 to No. 18, returning to its all-time peak on the Pop Airplay chart. As of this frame, the collaboration has spent 12 weeks somewhere on the tally. As it makes it to that milestone, 'Priceless' reaches the same level as 'Toxic Till the End' by fellow Blackpink musician Rosé. Both cuts have now lived on the list for a dozen periods. The two tracks are currently tied as the fourth-longest-charting hits of all time by K-pop female soloists on the Pop Airplay ranking. Lisa Pushes Past Jennie Last week, Lisa was tied with Blackpink's Jennie, as her semi-namesake track 'Like Jennie' racked up 11 weeks on the Pop Airplay chart before falling away. Now, 'Priceless' moves ahead, pushing 'Like Jennie' outside the top five on the list of the sturdiest cuts by female K-pop soloists. Lisa May Continue to Make History with 'Priceless' 'Priceless' will almost surely pass 'Toxic Till the End' in the coming days, as it seems unlikely the tune will fall from No. 18 to somewhere outside the top 40 on the Pop Airplay chart. Lisa still has weeks to go before advancing again on the list, however, as Jennie's other radio smash 'One of the Girls' with The Weeknd and Lily-Rose Depp disappeared after 15 weeks on the radio roster. The all-time record for the longest stay on the Pop Airplay chart by a female K-pop soloist belongs to Rosé's 'Apt.,' which benefited from a feature by Bruno Mars. That cut remained on the top 40 roster for 28 weeks, while Lisa's own 'Moonlit Floor (Kiss Me)' holds steady in the runner-up spot with 19 weeks on the tally to its credit.
The Verge
35 minutes ago
- The Verge
Spotify's terrible privacy settings just leaked Palmer Luckey's bops and bangers
Have you ever wondered what bops powerful figures are listening to on Spotify? You'd be amazed what you can get with a profile search — but just in case you want them all in one place, there's the Panama Playlists, a newly published collection of data on the musical listening habits of politicians, journalists, and tech figures, as curated by an anonymous figure. The site appears to have data for a number of notables, including Open AI CEO Sam Altman, Speaker of the House Mike Johnson, US attorney general Pam Bondi, and Late Night host Seth Meyers. Five people featured on the website confirmed to The Verge that data for them is accurate; 'Thankfully mine isn't too embarrassing,' New York Times journalist Mike Isaac tweeted. Spotify's Laura Batey said Spotify would not have any comments before this story's publication. 'I'd be way more interested in is what podcasts people like JD Vance, Karoline Leavitt etc are listening to!!' Among the notables are Vice President JD Vance — whose 'Making Dinner' playlist features 'I Want it That Way' by the Backstreet Boys and 'One Time' by Justin Bieber, according to the site. Vance spokesperson Taylor Van Kirk did not respond to a request for comment. Taylor Lorenz, who is also featured on the site — 'Take a Bow' by Rihanna and 'Romeo and Juliet' by Dire Straits appear on her playlist, 'Favs' — confirmed her listing. 'I mostly use Spotify to listen to podcasts and what I'd be way more interested in is what podcasts people like JD Vance, Karoline Leavitt etc are listening to!!' she said in a text message. Former Verge staffer Joanna Stern, who is a personal tech columnist at The Wall Street Journal, confirmed her information is accurate and added, 'the maker of the Panama Papers Playlists seems to be anti-Third Eye Blind.' Another featured journalist, Kara Swisher, said that the playlist listed for her wasn't accurate. (It is called 'My Peloton Music' and features 'Savage,' by Megan Thee Stallion.) But Swisher also said that she shares a Peloton with her wife, so the site may have picked up her wife's Peloton music. Reached for comment, the editor Amanda Katz, Swisher's wife, said that playlist is 'definitely not mine.' Katz added, '[Swisher] doesn't even really use Spotify. In conclusion, trust no one.' Those songs might have played during a Peloton class, Katz said. If Katz is right, then judging people by the 'My Peloton Music' playlists is about as accurate as judging people by whatever's on at their gym. This website is possible because Spotify's design assumes everyone wants to share everything with the entire world and makes it difficult for users to protect their privacy. It defaults to making all playlists and profiles public. To change that, users need to go to the 'Privacy and social' menu and toggle the 'Public playlists' setting to private. However, that won't retroactively make playlists private; instead, you'll have to do all that by hand on each individual playlist. It's not clear who's behind the website, or how they got ahold of this data A lot of people use their name as their login — which may be because they signed up with their Facebook accounts. That makes searching for people particularly easy; I was able to find a Spotify profile for an Adam Mosseri that listed the 'Hang' playlist on the Panama Playlists website. Mosseri did not respond to an email asking if that account belonged to him. I found two Palmer Luckey accounts; one, 'Palmer Freeman Luckey,' contained the 'Best Music Ever' playlist that the Panama Playlists identified. 'I can confirm the playlist is real,' Luckey posted on X. It's not clear who's behind the website, or how they got ahold of this data. Some of the profiles, such as that of NBC's Al Roker, include play counts for specific songs — which aren't part of the public profile. If Roker had his 'Listening activity' setting toggled to 'on,' it's possible whoever put this together followed Roker, then manually counted how many times he listened to Elton John's 'Philadelphia Freedom,' but I can't say for sure. When The Verge staffers were reviewing our own privacy settings, one of my editors was stunned to discover I was following her. She thought she'd set her own profile to maximum privacy — but when the two of us collaborated on a friend's playlist, I was able to follow her. She never received a notification. And when I checked in on my own profile, I was surprised to discover that I too had followers I had never been notified about. Spotify collects a lot more personal data than most users realize. Search queries, streaming history, browsing history, interaction with other users, location data, device IDs and even data about how you hold your devices are among the information for collection listed in the company's privacy policy. It is not possible to make a private profile; your profile name and photo are always available to any Spotify user you haven't blocked. The 'Panama Playlists' is pretty silly as private data goes — discovering people's favorite songs isn't nearly as scandalous as getting into their email, direct messages, or other sensitive data. But it does reflect a generalized move toward total surveillance. A similar and more serious version of this kind of Silicon Valley carelessness around user privacy has resulted in multiple stories about politicians' public Venmo transactions. Some of the data featured was more specific than playlists. According to this site, Alexandr Wang, Meta's chief AI officer, played The Lumineers' 'Stubborn Love' immediately after Meta's $14 billion investment in Scale AI. Wang didn't immediately respond to a request for comment. If your 'Listening Activity' toggle is not set to private, it's possible for anyone following your account to see what you're listening to. But it's not clear how the Panama Playlist site arrived at play counts for some of these songs, or from where it was pulling its data. Casey Newton, my former colleague who writes the Platformer newsletter, confirmed his information was accurate: his number 1 song last year was 'All You Children' by Jamie xx and the Avalanches. 'Here is my comment: 'All You Children' by Jamie [xx and the Avalanches] absolutely slaps,' he wrote. 'Highly recommended for your summer BBQ playlists.' With reporting by Nilay Patel and Sarah Jeong. Posts from this author will be added to your daily email digest and your homepage feed. See All by Elizabeth Lopatto Posts from this topic will be added to your daily email digest and your homepage feed. See All Culture Posts from this topic will be added to your daily email digest and your homepage feed. See All Entertainment Posts from this topic will be added to your daily email digest and your homepage feed. See All Features Posts from this topic will be added to your daily email digest and your homepage feed. See All Internet Culture Posts from this topic will be added to your daily email digest and your homepage feed. See All Music Posts from this topic will be added to your daily email digest and your homepage feed. See All Privacy Posts from this topic will be added to your daily email digest and your homepage feed. See All Report Posts from this topic will be added to your daily email digest and your homepage feed. See All Spotify Posts from this topic will be added to your daily email digest and your homepage feed. See All Tech
