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Yahoo
2 days ago
- Entertainment
- Yahoo
The 25 Best Latin Albums of 2025 So Far (Staff Picks)
Some of Latin music's biggest stars have released albums this year — including bona fide hitmakers Bad Bunny (Debí Tirar Más Fotos), Fuerza Regida (111XPANTIA) and Karol G (Tropicoqueta) all taking over the Hot Latin Songs chart (nine out of the top 10 songs on the chart dated July 5 are from these artists' respective albums). More from Billboard Bad Bunny's 'NUEVAYol' Video Arrives on Fourth of July With Pro-Immigrant Message: 'Together We Are Stronger' The Immigrant Experience in Music: 25 Heartfelt Songs to Reflect on This Fourth of July Orquesta Guayacán to Celebrate 40th Anniversary With 2025 U.S. Tour: 'It's Our Mission to Bring Joy' Besides chart domination, the albums mentioned above also champion that regional sound — tropical and Mexican — that adds layers of richness to its production, which has really revitalized Latin music. Whether that approach will rule the remaining six months of the year is to be seen, but we're really digging what we've heard so far. From Bad Bunny's signature música urbana interspersed with with salsa, bolero and plena in Debí to Karol G's Tropicoqueta ode to Latin America recording in vallenato, cumbia villera and ranchera and Gente de Zona's Cuban opus Reparto, it's safe to say that Latin music officially entered its regional era this year. Other standout albums included in our list are Natti Natasha's Natti Natasha En Amargue, where she fully embraces her bachata roots, Prince Royce's nostalgia-evoking Eterno and Ángela Aguilar's lushly produced LP Nadie Se Va Como Llegó. Our staff-curated 25 Best Latin Albums of 2025 So Far list below highlights the albums that have not only impressed us the most but have also defined the first half of the year. For this list, only albums released by June 30 were considered. (See The 25 Best Latin Songs of 2025 So Far here.) 25. Arthur Hanlon, 2 Manos, 1 MundoArthur Hanlon delivered an exciting seven-track EP featuring a variety of Latin music rhythms and big collaborators. For 2 Manos, 1 Mundo (Spanish for 2 Hands, 1 World), the Detroit-born pianist teamed up with nine of his friends — Ana Bárbara, Ángela Aguilar, Carlos Vives, Darell, Goyo, Manuel Medrano, Nia Skyfer, Tiago Iorc and Yotuel — for an 'ethereal and dreamy' production (as he previously described to Billboard) that combines world beats such as Brazil's bossa nova, Cuba's cha-cha-cha and Colombia's vallenato with his distinctive piano melodies. From the powerful rock-huapango 'Bala Perdida' with Aguilar, to the upbeat Mexican cumbia 'Egoísta' with Ana Bárbara and the unique fusion of blues with Colombian cumbia 'GOODBYE' with Vives and Goyo, 2 Manos, 1 Mundo stands out as an eclectic gem with one evident constant: Hanlon's undeniable love for Latin music. – SIGAL RATNER-ARIAS 24. Boza, San BlasInspired by Maná's 'En El Muelle de San Blas,' Boza titled his album (and focus track) SAN BLAS. He expressed in a press release: 'I love the woman I'm with very much, and with this song I wanted to tell her that I'm only there for her — that I always want to show her off, to show everyone that I'm with an excellent woman, a beautiful woman.' But beyond love, the nine-track set combines his life learnings and personal healing process throughout the years. Mainly crafted by his longtime producer Faster, the set stays true to the Panamanian artist's signature reggae plena sound, but incorporates Afrobeat and amapiano rhythms — notably heard on his two collaborations, 'Orión' with Elena Rose and 'Todavía' with Greeicy. The former peaked No. 2 on Billboard's Latin Pop Airplay chart last year. — JESSICA ROIZ 23. Prince Royce, EternoFifteen years after achieving his first top 10 hit on Hot Latin Songs and his first No. 1 on Tropical Airplay with his cover of 'Stand by Me,' Prince Royce gifted his fans an entire album filled with pop classics in bilingual versions (English/Spanish) and bachata rhythms. With 13 tracks ranging from King Harvest's 'Dancing in the Moonlight' and the Bee Gees' 'How Deep is Your Love,' to Stevie Wonder's 'I Just Called to Say I Love You,' Fleetwood Mac's 'Go Your Own Way,' and the Backstreet Boys' 'I Want It That Way,' the Dominican-born New York artist created new memories with old songs through this beautiful production. Eterno debuted at No. 3 on Top Tropical Albums, while 'How Deep is Your Love' recently climbed to No. 1 on Latin Airplay. — S.R.A. 22. Natalia Lafourcade, CancioneraLafourcade's Cancionera takes listeners on a musical journey through Latin America as she honors the music and styles that have influenced her latest projects. The poignant set is a bold offering of son jarocho, tropical and ranchera music, while also integrating natural sounds for a more robust and nuanced soundscape. The Mexican artist's critically acclaimed 12th studio album led to her most ambitious tour yet where the album comes to life and where she truly showcases that theatrical element that is very much intrinsic to the album's identity. — GRISELDA FLORES 21. Luck Ra, Que SedThere's no time to be moping over an ex with an album like Luck Ra's Que Sed. Fourteen songs, mostly about heartbreak, are backed with feel-good, party melodies and his captivating falsetto vocals. Representing the Argentine artist's ambitious thirst and hunger in the music industry, Que Sed puts the country's cuarteto or cuartetazo movement on the map — a musical genre born in Córdoba similar to merengue that's fused with urban, reggae and cumbia beats. The album, which includes collaborations with Chayanne, Elvis Crespo, Maluma, Nicki Nicole, Kenia Os, Lola Indigo, Ke Personajes, Dread Mar I, Ulises Bueno, and Tiago PZK, follows his debut Que Nos Falte Todo, which was Spotify's most-streamed album of 2024 in Argentina. — J.R. 20. Buscabulla, Se Amaba AsíLove's complexities pulse through Se Amaba Así, the bold return of Buscabulla after a five-year hiatus. The Puerto Rican duo, Raquel Berrios and Luis Alfredo del Valle, unravel relationships with an intoxicating fusion of disco, synth-pop, and tropical nuances. From the steely guitar of 'El Camino' to the hypnotic syncopation of 'Miraverahí,' the pair crafts lush soundscapes where heartbreak and hope collide. Their introspective lyrics, often tinged with Puerto Rican slang, evoke a telenovela's melodrama in sonic form. Exploring visions of past, present, and future romance, the album is a kaleidoscopic journey — equal parts dreamy and cutting — that cements Buscabulla as masters of atmosphere and storytelling. — ISABELA RAYGOZA 19. Ryan Castro, SendéRyan Castro's Sendé is a passport to the soul of Curaçao, the Caribbean island that influenced his life and sound. The Colombian star steps away from his Cantante del Ghetto persona, and explores themes of vulnerability ('Ojalá,' 'Menos el Cora' feat. Manuel Turiso) and identity ('Sendé,' 'modo LEYENDA') through a blend of dancehall, kizomba, reggae and Afrobeats. Tracks like 'Sanka' (featuring local artist Dongo) and heavyweight collaborations with Peso Pluma and Shaggy fuse his signature urban grit with Curaçao's joyous rhythms. 'Sendé is a very personal project that reflects everything I lived and learned in Curaçao,' Castro told Billboard Español in May. With this project, Castro doesn't just tell his story — he invites listeners to join him, fully immersed in Caribbean spirit and sound. — I.R. 18. Ángela Aguilar, Nadie Se Va Como LlegóIn Nadie Se Va Como Llegó, Aguilar perfectly captures the transformative spirit that powers her music and her recording career, which launched when she was just eight years old. The now 21-year-old singer-songwriter and producer showcases maturity in her lyrics and sound singing about the peaks and valleys of womanhood via songs of empowerment, heartbreak and love on the 12-song set. Although slightly more experimental than her previous albums, Aguilar stays true to her mariachi roots while also incorporating norteño, pop and cumbia elements for a riveting variety of styles. — G.F. 17. Netón Vega, Mi Vida Mi MuerteThe title alone, My Life My Death (when translated to English), is intriguing enough — but the album itself is a solid collection of songs that serves as an introduction to one of música mexicana's newest stars. The young hitmaker offers a blend of swag-heavy corridos — plus his big reggaetón hit 'Loco,' and the hard-hitting hip-hop track 'Me Ha Costado' with Alemán and Victor Mendivil — which showcase a versatility that makes him stand out in a crowded field of of regional Mexican singers. Mi Vida is stacked with other collaborators, including Óscar Maydon, Tito Double P, Luis R Conriquez, Peso Pluma and Xavi. The album earned Vega his first appearance on a Billboard albums chart, debuting at Nos. 1 and 2 on the Regional Mexican Albums and Top Latin Albums charts, respectively. — G.F. 16. Morat, Ya Es MañanaMorat's fifth studio album is a representation of the band's ability to skillfully navigate its sonic evolution without sacrificing an essence that draws heavily from electric guitar riffs of the '90s, which creates that nostalgia connection that resonates throughout its tracks. Lyrically, the album captivates listeners thanks to catchy hooks and strong melodies, as heard in stand out tracks like 'Faltas Tú' and 'Me Toca A Mí,' with Camilo, blending powerful drum beats with melodic lines that evoke the classic sound reminiscent of Def Leppard. Ya Es Mañana won one of Billboard's New Latin Music poll, which further shows just how much this album connected with fans. — INGRID FAJARDO 15. Belinda, IndómitaIndómita is a quintessential Belinda album showcasing style, power, determination, female empowerment and playfulness. The LP also highlights her alter ego, 'Beli Bélica,' putting her refreshing take on corridos tumbados at the forefront. The 17-track set includes collaborations with genre hitmakers such as Natanael Cano on '300 Noches,' Tito Double P on 'La Cuadrada,' and Xavi on 'Mírame Feliz.' It's also powered by cheeky and flirty reggaetón tracks like '+ Perra, + Bitch' and 'Wet Dreams' with Netón Vega and Tokischa, as well as trap with songs like 'Death Note' and 'Silvana' to round out the genre-spanning production. — I.F. 14. Gente de Zona, RepartoOn their latest studio album, Gente de Zona opted to 'show the world an evolution of Cuban reggaetón that defines our culture [and] shine a light on these new artists who are leading the authentic Reparto movement in our country,' the duo's Randy Malcom said in a statement — hence its name, Reparto. Honoring the movement that was born in the barrios of Cuba and fuses Afro-Cuban rhythms with modern electronic and hip-hop elements, the 12-song album finds Gente de Zona — and a wave of remarkable Cuban artists — singing songs about having confidence, feeling successful and blessed, or having a healthy relationship. Standout tracks include 'Rico Cantidad,' 'Se Trata' and 'La Guagua' — which have all gained social media momentum. — J.R. 13. Beéle, BorondoIt took Beéle six years — since his debut, viral hit 'Loco' in 2019 — to release his first studio album called BORONDO. In between, he'd make a name for himself in the Latin Afrobeats realm by collaborating with artists such as Sebastian Yatra, Manuel Turizo, Farruko, and hitting the Billboard charts along the way. In the 26-track album, the artist from Barranquilla, Colombia stamps his Caribbean aura into progressive Afrobeats backed by his suave, melodic vocals. Notable tracks include the Ovy on the Drums-produced 'mi refe,' the Marc Anthony-assisted 'Dios me oyó,' and the ultra-sensual 'frente al mar.' BORONDO marked the artist's debut on the Billboard album charts, bowing at No. 10 on Top Latin Albums and No. 4 on Top Latin Rhythm Albums on the lists this May. — J.R. 12. Noreh, A Film By La Vida RealOn his sophomore album, and debut under 5020 Records, Noreh opened up about the 'good and bad things that have happened to me' in his 27 years. The result? A 15-track set called A Film By La Vida Real that is reflective, emotional, sensual, and an ode to identity. 'I always believe that a piece of material should have that contrast and be honest enough to resonate with the people who listen to it,' the Venezuelan singer-songwriter previously told Billboard. 'I had this concept of taking it through movies and TV shows because I felt it was necessary for each song to tell a story.' The album, where he navigates heartfelt ballads (some meshed with tropical music, others with electronic), includes collaborations with Sin Bandera, Jay Wheeler, LAGOS and Corina Smith. — J.R. 11. Bomba Estéreo & Rawayana, AstropicalWhat happens when Caribbean tropical rhythms meet the world of astrology, feminine energy and spirituality? A colorful supergroup called ASTROPICAL is born. The group created by Bomba Estéreo and Rawayana — two of the most beloved contemporary bands from Colombia and Venezuela, respectively — took the world by storm at the beginning of the year when they released the song 'Me Pasa (Piscis),' announcing that it was only the first single of an entire project that would soon follow. In March, their 12-track album — one for each sign of the zodiac — arrived, blending electronic cumbia and reggae with Afrobeats and tropical rhythms in titles including 'Brinca (Acuario),' 'Siento (Virgo),' 'Una Noche en Caracas (Tauro),' and 'Otro Nivel (Capricorn).' It is unknown if Bomba Estéreo and Rawayana will reunite again. For now, we are grateful that the stars aligned this year for Astropical. — S.R.A. 10. Christian Nodal, ¿Quién + Como Yo?In an era seemingly dominated by singles, where each song competes to shine on its own, Christian Nodal opts for a cohesive narrative in ¿Quién + Cómo Yo?, an album that interweaves universal themes of love and heartbreak. Reaffirming his artistic identity through mariacheño music, Nodal delivers a production that prioritizes authenticity, with arrangements that highlight the richness of traditional instruments such as trumpets, guitars and accordion. The 12-track album features collaborations with Natanael Cano on 'EBVSY,' Alfredo Olivas on 'Se Vienen Días Tristes,' and Tito Double P on the corrido tumbado 'La Loba.' With ¿Quién + Cómo Yo?, Nodal demonstrates that traditional Mexican music not only remains relevant but can also connect with new generations without losing its essence. — LUISA CALLE 9. Christian Alicea, Swingkete Vol. 1 – MaratónSalsa music has seen a resurgence in popularity thanks to a new generation of artists who are adding their own swing to the traditional genre. Alicea is among that group — and with Swingkete Vol. 1, he doubles down on his commitment to continue to push salsa music to the forefront. Throughout the set, the Puerto Rican artist — who earlier this year signed to Bad Bunny's Rimas Entertainment — infuses traditional styles like bomba, plena and salsa with cumbia and Afrobeats, with featured collaborators Jowell & Randy, J Álvarez, Frabian Eli and Eliot 'El Mago D Oz' in tow. — G.F. 8. Natti Natasha, Natti Natasha En AmargueNatti Natasha is Dominican to the core, but she had never done a full bachata album until Natti Natasha En Amargue. The set highlights an outstanding side of Natasha, a vocalist with range and pathos who can carry a full range of emotions, from the opening, deliciously spiteful 'Desde Hoy' — with lyrics like 'May you have a horrible ending/ The worst possible' — to the sultry 'Vendaje,' a big-band bolero. En Amargue has the added of bonus of having been written and produced in its entirety by Romeo Santos, and the songwriting is a delight to listen to. Natasha's return to her roots is actually a step up. — LEILA COBO 7. Cazzu, LatinajeRomance, remorse and folklore stitched from Argentina's northern roots collide in Latinaje, an album that feels like stepping into Cazzu's most intimate world. It opens with a 'copla' (poetry) to her homeland, before 'Mala Suerte' sweeps in — a carnival-esque lament that tumbles into a sleek hip-hop beat. Heartache shapes much of the album (seemingly informed by the artist's very public breakup with her baby daddy, Nodal) with tracks like the haunting tango 'Ódiame' and 'Con Otra,' a tearjerker that transforms its sadness into a cumbia villera. There's range here, too, with Elena Rose's bolero-infused 'Engreído' and Maka's flamenco-tinged 'Ahora' adding depth. But Cazzu shines brightest alone, offering moments like 'Inti,' a lullaby wrapped in a lo-fi trap for her daughter. Latinaje is a celebration of Latin sounds — old and new — powered by heartbreak and fierce cultural pride. — I.R. 6. DannyLux, LeyendaDannyLux's Leyenda is a dazzling dark fantasy affair that tells tales of eternal skies, mermaids, and otherworldly legends through whimsical sierreño music. The album kicks off with 'Tristeza de Lux,' buoyed by steely guitars that weave an uneasy shimmer into the melancholy lyrics about disenchantment. Then, it effortlessly genre-hops into '90s-inspired trip-hop ('2025') and lo-fi electronic music ('Q.D.E.P.'). He also invites Jasiel Nuñez to join him in on the stormy 'Cielo Eterno,' Yng Naz on the whimsical corrido 'Viaja Conmigo' and Juanchito on the tololoche-driven 'Mis Loqueras.' With its fusion of regional Mexican instrumentation and subtle electronic elegance, DannyLux delivers imaginative storytelling throughout. — I.R. 5. Joaquina, Al Romper La BurbujaFor her anticipated debut LP — following a 2023 Latin Grammy win for best new artist — Joaquina presented a project filled with nostalgia, featuring 14 songs that speak directly to the heart. From previously released singles like 'Quise Quererte,' 'Escapar de Mí,' 'Desahogo' and 'Pesimista,' to 'Carta a Mí,' 'Capricho,' an alternative version of 'El Alquimista,' and 'Gracias Por Estar Aquí,' the Venezuelan singer-songwriter offers a fusion of poetic folk-pop and classic rock. The work is brilliantly co-produced, for the most part, by the artist herself, alongside renowned Colombian musician Julio Reyes Copello. With her ever-heartbreakingly honest lyrics, Al Romper La Burbuja represents a pivotal moment in Joaquina's artistic and emotional evolution, with a mature, authentic and reflective approach. — S.R.A. 4. Karol G, TropicoquetaKarol's latest album couldn't be more different from her blockbuster set Mañana Será Bonito, and it seems intentional — and also truly what makes it all the more fun of a listen. Tropicoqueta — an ode to the sounds and music icons of Latin America — really pushes Karol's sonic boundaries, as she records in ranchera, Colombian vallenato, cumbia villera, mambo and merengue, just to name a few Latin genres included in the album. Defying predictability, Karol does a deep dive into what has influenced not only her musical palette, but has historically contributed to the richness of Latin music. A passion project from beginning to end, Karol recruits legendary acts like Thalia, Marco Antonio Solís, Manu Chao and Eddy Lover to help her tell the story of how she went from bebecita to bichota to now tropicoqueta. The set debuted at No. 3 on the Billboard 200, Karol's third top 10 on the tally. — G.F. 3. Ca7riel & Paco Amoroso, PapotaIn 27 minutes, PAPOTA serves up a musical feast on steroids, as its name suggests: jazz, hip-hop, percussion, horns and humorous truths on every track. The album follows the viral success of the duo's hit Tiny Desk performance, which has accumulated 38 million views to date and has put Ca7riel & Paco Amoroso in the spotlight. It's also accompanied by a clever short film in which the Argentinians satirize the keys to success in the industry, from lifting weights to speaking English, while showing real vulnerability. PAPOTA is witty, daring, necessary, and one of the most original works of 2025. — L. CALLE 2. Bad Bunny, Debí Tirar Más FotosBad Bunny delivered Debí Tirar Más Fotos on a Sunday, coinciding with Three Kings Day, an unusual release day but fitting for Bunny's unorthodox nature. In Debí, which scored the Puerto Rican star his fourth No. 1 on the Billboard 200 — Benito goes on a musical journey through the corners of Puerto Rico, blending traditional sounds like plena ('CAFé CON RON),' a lively celebration of the style infused with contemporary elements, salsa ('NUEVAYoL'), in a captivating tribute to the legendary El Gran Combo de Puerto Rico and the group's music that has soundtracked the island for generations, and jíbara music ('Pitorro de Coco'). Still, Bunny doesn't completely detour from his signature reggaetón beats, with plenty of tracks to appease his fanbase. The 17-track set — produced by Tainy, MAG and La Paciencia and Big Jay, among other hitmakers — highlights the diverse influences that have and continue to shape Benito's creativity, making this album a compelling and dynamic representation of the superstar's sonic evolution. — I.F. 1. Fuerza Regida, 111XPANTIARegional Mexican music erupts into uncharted territory with 111XPANTIA, Fuerza Regida's audacious and groundbreaking ninth studio album. In May, the San Bernardino group made history, landing at No. 2 on the Billboard 200 — the highest position ever achieved by a regional Mexican album in the chart's 69-year history — outpaced only by global icon Bad Bunny. The album kicks off with 'GodFather,' a commanding opener that nods to the iconic '70s film. Known for their ability to push beyond the traditional bounds of música mexicana, the group blurs genres with thrilling precision. Folky banjo melodies thread through tracks like 'Peliculiando' and 'Nocturno,' while they lean into reggaetón-dembow hybrids on the Anuel AA-assisted 'Lokita' and the high-energy 'Lababubu' featuring Bellakath. The closing track, 'Marlboro Rojo,' is a tour de force — raw, electrifying and unrelenting. Fueled by one of the most dynamic arrangements in the genre of the year, it melds tight tuba blasts, blazing trumpets, and the grit of JOP's vocals to create a sonic adrenaline rush. Named after the Náhuatl word for 'manifest,' 111XPANTIA feels like a declaration of identity and creative freedom: a visceral, high-octane manifesto of Fuerza Regida's unstoppable ascent. — I.R. Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart Solve the daily Crossword
Yahoo
21-07-2025
- Entertainment
- Yahoo
Bad Bunny Drops ‘Alambre Púa' After Debuting Track at Puerto Rico Residency
Bad Bunny is back with a surprise new single, 'Alambre Púa,' marking his first new music since the release of his latest album, Debí Tirar Más Fotos. The track's official release comes after Bad Bunny debuted it live over the weekend, highlighting 'Alambre Púa' as the show-opener at his residency at the José Miguel Agrelot Coliseum in San Juan, Puerto Rico. The propulsive, sweltering track also arrives with a visualizer that, for the most part, follows a woman's legs as she dances across a beach. More from Rolling Stone Bad Bunny Is Kicking Off a Historic Residency in Puerto Rico. Is the Island Ready? Bad Bunny Uses a Recording Mimicking Trump's Voice to Deliver a Pro-Immigrant Message in 'Nuevayol' Video Bad Bunny on Puerto Rico: 'It's Not Always Paradise, But ... I Don't Want to Leave' Eventually, the camera pulls out to reveal the dancer on an elaborate soundstage, with a flashing sign behind her emblazoned with the name of Bad Bunny's San Juan residency: 'No me quiero ir de aquí' ('I don't want to leave here'). The 30-show residency officially kicked off July 11, with concerts scheduled through Sept. 14. After wrapping the hometown run, Bad Bunny will kick off a world tour that runs through 2026, with concerts throughout Central and South America, Australia, New Zealand, and Europe. Earlier this month, before releasing 'Alambre Púa,' Bad Bunny released a music video for his Debí Tirar Más Fotos track, 'Nuevayol.' The clip notably ends with a voice that sounds a lot like Donald Trump's delivering a staunchly pro-immigrant message at a moment when the Trump administration is leaning heavily into brutal crackdowns on migrants, including mass detentions and deportations. Bad Bunny released Debí Tirar Más Fotos in January, marking his first album since 2023's Nadie Sabe Lo Que Va a Pasar Mañana. Along with his residency and world tour, Bad Bunny also has a pair of movies coming out this year, including Happy Gilmore 2 with Adam Sandler and Darren Aronofsky's Caught Stealing. Best of Rolling Stone Sly and the Family Stone: 20 Essential Songs The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked Solve the daily Crossword
NBC News
20-07-2025
- Entertainment
- NBC News
Bad Bunny has given Puerto Rico a 'new influence' on the world stage, proud fans say
SAN JUAN, Puerto Rico — During the first week of Bad Bunny's historic residency, fans sported outfits inspired by Puerto Rican folkloric culture, including straw hats known as 'la pava' and traditional 'jíbaro' attire, reflective of rural Puerto Ricans who worked on farms until the 19th century. The fashion choice is a statement. It's consistent with the theme of his 30-show concert series: 'No me quiero ir de aquí,' which translates to 'I do not want to leave here.' The concerts bring to life the songs on Bad Bunny's sixth studio album, 'Debí Tirar Más Fotos,' or 'I Should Have Taken More Photos,' which the artist has dubbed as his ' most Puerto Rican' album yet. On it, Bad Bunny sings of his need to stay in Puerto Rico and cherish its people and history. Most of the lyrics speak to Puerto Rico's political realities and cultural legacy. And for Puerto Ricans in the U.S. territory as well as those who live on the U.S. mainland, the focus on their beloved Caribbean archipelago is everything. 'It feels like we're home,' Ivy Torres told NBC News. She and her spouse, Alexis, are among the more than 600,000 people who are expected to visit Puerto Rico this summer to see the show — which is the first formal residency any singer has ever done at the Coliseo de Puerto Rico José Miguel Agrelot, the biggest indoor entertainment arena on the island, seating over 18,000 people. 'It's a great way to reconnect with your family, friends and everything we left behind,' Alexis said. The couple moved to Ohio from Puerto Rico a decade ago during the height of the economic crisis on the island. 'It was hard,' Ivy said. 'We didn't want to leave our family and friends, but we had to.' Bad Bunny sings about this sentiment in his song 'Lo que le pasó a Hawaii' ('What happened to Hawaii'). The song addresses fears around the erosion of Puerto Rican identity amid an influx of wealthy people from the mainland who have moved there following the passage of tax breaks, as well as a recent rise in short-term rentals that limit affordable housing opportunities for local residents. Born Benito Antonio Martínez Ocasio, Bad Bunny reached global success singing in Spanish, popularizing Puerto Rican slang across the world and putting a spotlight on the plight of Puerto Rican people. 'He does his music for Puerto Rico' That's why for Puerto Rico resident Verónica González, it 'means everything having a star like Benito singing for us,' she told NBC News. 'He does his music for Puerto Rico, and he thinks about us.' The album and residency effectively take fans on an emotional journey that fuses contemporary genres like reggaeton and dembow with traditional rhythms such as bomba y plena and 1970s salsa music. Inside a restaurant in Old San Juan, Puerto Rican artist and painter Joabel Ortiz has been showing an art exhibit dedicated to Bad Bunny and his latest album. Ortiz mixes traditional symbols of Puerto Rican culture like 'la pava' with images of the superstar — highlighting the through line that connects a present-day cultural phenomenon like Bad Bunny to the roots of Puerto Rico. Puerto Rican officials estimate Bad Bunny's residency will have an economic impact of more than $186 million, generating more than 3,600 jobs and resulting in more than 35,000 hotel night bookings. But to his fans, it's Bad Bunny's focus on the people and the essence of what it is to be Puerto Rican that resonates the most. 'We got a new influence to the world,' Ortiz told NBC News. 'That new influence is about our culture, about the ideas we got in the island, and how we do everything, how we speak, how we love, how we remember who we are.'
Los Angeles Times
14-07-2025
- Entertainment
- Los Angeles Times
Bad Bunny urges Puerto Ricans to own their rhythm in emotional hometown show
A young woman emerged from the dark into a green and bushy clearing. Under the faux moonlight, she wandered the stage, speaking to herself. 'Where's my camera? I can't believe I lost it. All my memories were there,' she said with a pang of panic in her voice. Moments later, a young man surfaced from the same spot. His eyes scanned the area as well, with a pained look on his face. 'Have you seen my drums?' When he plays his drums his heart races, he explained; his people feel joy, and the living, the dead and even the stars dance. 'It's like all our memories are there too,' he said. With this poignant intro, Bad Bunny kicked off the 'locals only' opening night of his 30-show residency in San Juan — which, for the first three weekends, will only be accessible to those who can show proof of their residence in Puerto Rico. Taking place each weekend at the José Miguel Agrelot Coliseum, affectionately referred to as El Choli by locals, the concert series revolves around his latest album, 'Debí Tirar Más Fotos,' and was advertised with name 'No me quiero ir de aquí,' which translates to 'I don't want to leave here.' It's a refrain that's been associated with the artist since he used it as a lyric in his 2022 ode to his homeland, 'El Apagón,' and he considers it still resonant today. A celebration of Puerto Rican identity, a fighting spirit shaped indelibly by its music and history, 'Debí Tirar Más Fotos' also urges its listeners that time is not to be taken for granted, and the past, present and future are not just distinct phases but one whole, inextricably tied together. Fans that flocked to the opening weekend concerts were treated to Benito at the apex of his talents, not to mention his stamina. For three hours and over 35 songs, he danced, strutted and sang to the approving roar of over 15,000 in attendance. The show opened with rumbles of bomba y plena, and an unreleased track that got the crowd buzzing — followed by popular recent bangers like 'Ketu Tecré,' 'El Clúb' and 'Pitorro de Coco.' He then regaled the crowd with a catwalk performance of 'Kloufrens' and 'Weltita,' which featured an appearance by Chuwi, the beloved tropical jazz quartet from Isabela. The two stages were grandiose, both in size and production quality. The main stage was a reproduction of a hill, made to approximate the lush foliage found in Puerto Rico's rainforest and central hillside towns. On one side, you could spy the two iconic Monobloc chairs from the album's cover, and on the other, a flamboyán tree blossoming with red flowers. On the opposite end of the coliseum's arena was a pristine pink vacation home, built to mirror the one from the short film that debuted along with the album. That film introduced the characters of Old Man, played by acclaimed Puerto Rican filmmaker Jacobo Morales, and Concho, the sweet-natured Puerto Rican crested toad voiced by Kenneth Canales, which was brought to life by the stop-motion work of Quique Rivera. The two unlikely housemates returned in two new vignettes shown at the concert, in which they live in a cabin in the middle of snowy woods. Concho misses the Caribbean warmth, and feels very far away from home. A kind Morales reminds him: 'We're Puerto Rican no matter where we are, and even from afar we defend what's ours.' Remember, he says while looking straight at the camera, Puerto Rico is 'the real calentón.' This cued a barrage of images that flashed across the screen, showing photos of historic protests and civil disobedience carried out over the decades by revolutionary Puerto Ricans. Benito reappeared under the flamboyán tree, where he was joined by guitarist Antonio Caraballo. Here, we got some of his lovelorn 'Sad Bunny' persona as they reinterpreted acoustic versions of older hits like 'Si Estuviésemos Juntos,' 'Ni Bien Ni Mal' and 'Amorfoda' before ending with 'Turista.' All the while, Benito waxed philosophically to the audience, commiserating about matters of the heart. From here, the action swiftly moved from the countryside to the pink house which suddenly filled with dancers in club wear — and Benito's longtime tour DJ Orma. Those craving a rowdy perreo party got their wish, as his salsa-dembow hybrid track 'Nuevayol' launched a 16-song stretch of frenzied, sweaty reggaeton and trap bops. Bouncing feverishly from 'Titi Me Preguntó' and 'La Jumpa' to 'Yo Perreo Sola' and 'Efecto,' Benito transformed the coliseum into a nightclub. Among the guests that night were none other than basketball legend LeBron James, Golden State champion Draymond Green and UnitedMasters CEO (and one of the most influential men in Black culture and business) Steve Stoute. James and Benito have a friendship going back several years, and it's hard to blame the superstar for wanting to hang with his pal — even if said pal is an American — during a concert by an artist who is not really vibing with the United States right now. But then again, if the home we see on stage is supposed to represent an Airbnb owned by non-Puerto Ricans — which is what was narratively implied — Benito might as well flex and bring in some elite gringos. Chants of 'MVP! MVP!' rang out at one point, provoking the four-time NBA champion to throw up a hand heart gesture to the crowd. It's all love. That being said: 'LeBron James sat on an air conditioner and danced while Bad Bunny sang 'Safaera'' is a ridiculous Mad Libs sentence that actually happened. As he paced from side to side on the house's rooftop, Benito would again touch on the topic of time. 'You get so caught up in the euphoria of the moment that you forget to appreciate the present,' he said. He asked the crowd to put their phones away and focus on the next song, and on whoever is accompanying them, or even someone across the aisle who has caught their eye. 'This is the moment to act,' he added, and ask them for a dance, just before the thrust of 'Eoo,' made famous from his sensual Calvin Klein underwear ad, got the whole building quaking. Puerto Rican plena ensemble Los Pleneros de la Cresta appeared to interpret 'Café Con Ron,' as well as one of their own songs, 'Ábreme Paso,' which gave way to a second video vignette. It showed Morales' Old Man leaving the cabin and trudging through a snowstorm, until he ran into Benito's musical director Julito Gastón — the young man from the opening skit — sitting behind his drum. As they lock eyes, Morales leaves him with a word of advice that's not just about the music, but the core of his being: 'Never stop playing your drums.' Bad Bunny resurfaced, looking a bit more subdued. He spoke softly, but sternly, about Puerto Rico and its struggle against gentrification and government neglect. 'We have to protect this land,' he said. 'We have to protect what's ours if we want our children to make a life here.' He followed it up by crooning 'Lo Que Le Pasó A Hawaii,' the solemn décima all about how the archipelago is being threatened existentially. An animated crash course in salsa history, narrated by Néstor Galán, set the scene for Benito's touring live band, Los Sobrinos to assemble. Dressed in a vintage '70s garb of a Fania bandleader, Benito led the group into the last and most rousing part of the concert: a salsa reimagining of 'Callaíta,' which gave way to to 'Baile Inolvidable' and 'Dtmf.' The crowd leapt to their feet, twirling and stepping to the rhythms. Before he launched into the opening freestyle of 'La Mudanza' he paused to gather himself; he took off his sunglasses to reveal his eyes had welled up with tears and gratefulness. As the image of a giant Puerto Rican flag graced the ceiling, he motioned for everyone to sing and scream the final lyrics in unison: 'Nobody's taking me from here, I'm not moving anywhere, tell 'em this is my home, where my grandfather was born, I'm from P f—in' R!' In the lead-up to last year's gubernatorial elections, Bad Bunny spent hundreds of thousands of his own money buying ad space on billboards across Puerto Rico urging its citizens to not vote for the ruling party, accusing them of being the main culprits of the island's woes. The ads consisted of a simple, white text on a black background. In the end, the same party that has led since 2017 won reelection; and since then, the current governor, Republican Party member Jenniffer González-Colón, has only continued to be mired in controversy. When entering the concert area, the large screens over the main stage showed one message with white letters on a black background: 'Yo Te Lo Dije,' or 'I Told You So.' When the show was over and everyone began to trickle out, a new message appeared, recognizable to all: 'No Me Quiero Ir De Aquí.' With his residency, Bad Bunny issues a rallying cry for Puerto Ricans: Act now. Change the future, so that you don't regret the past. And most importantly, never stop playing your drums.
USA Today
12-07-2025
- Entertainment
- USA Today
Bad Bunny setlist: All the songs on his No Me Quiero Ir de Aquí residency in Puerto Rico
Bad Bunny is known for doing things his way. So his career-defining residency isn't in Las Vegas or New York or Los Angeles – it's in his native Puerto Rico. The Latin superstar born Benito Ocasio kicked off his No Me Quiero Ir de Aquí (I Don't Want to Leave Here) residency July 11 at the Coliseo de Puerto Rico, the island's largest indoor arena. The first nine dates are reserved for local residents only, as Bad Bunny, 31, wanted to pay tribute to his homeland. He'll continue his performances every weekend through Sept. 14 for shows that are already boosting tourism in Puerto Rico. More: Bad Bunny is making history with his residency. It's not the first time he set records. His concerts are in support of his chart-topping sixth studio album, "Debí Tirar Más Fotos," which reflects the musical styles he grew up with and lyrically tackles the cultural identity and the socio-political challenges of the island. Here are the songs Bad Bunny unveiled at the first night of his Puerto Rico residency. Bad Bunny 'No Me Quiero Ir de Aquí' residency setlist
