On Jan. 5th, Bad Bunny released his sixth album, “DeBí tIRAR MáS FOToS,” translating to “I should’ve taken more photos.” During the album’s promotion, Bunny released two singles, “PIToRRO DE COCO” and “EL CLúB,” both accompanied by music videos published on YouTube. 

The music video for “PIToRRO DE COCO” depicts Bad Bunny sitting in a Puerto Rican bar, singing while drinking with some older folk. The grounded setting in this video heavily contrasts with the visuals of the “EL CLúB” music video, which uses AI throughout and has a more psychedelic theme.

Bad Bunny dropped a countdown for his album on Dec. 26, releasing coordinates that, when looked up on Google Maps, depicted possible titles for the album’s corresponding songs. This release increased suspense as fans theorized about possible title tracks. 

The first song on the album, “NUEVAYoL,” is an absolute masterpiece. Bad Bunny returns to his Puerto Rican roots with a salsa-style intro that eventually transitions into his more familiar dembow music, a subgenre of regeaton that originated in the Dominican Republic. The beat switches throughout the song and flows seamlessly, making an infectious, feel-good track.

The next song on the album, “VOY A LLeVARTE PA PR,” has a more electronic feel and is instantly catchy. Overall, the album demonstrates Bad Bunny’s attempt to reconnect with his homeland, and “VOY A LLeVARTE PA PR” is a perfect example of how to execute a short song that remains true to the deeper motif of reconnecting with one’s roots.

The following song, “BAILE INoLVIDABLE,” showcases Bad Bunny’s range as he uses an older, more nostalgic salsa sound with a more modern, nuanced approach. “BAILE INoLVIDABLE” seemingly connects with “Enséñame A Bailar,” a song from Bunny’s 4th album “Un Verano Sin Ti.” The songs show parallels with similar lyrics about his relationship with his now ex-girlfriend. In the earlier song, he’s learning how to dance with the help of his partner. In “BAILE INoLVIDABLE,” Bad Bunny reminisces about this and their time together. This six-minute masterpiece is undoubtedly a highlight of the album and has one of the most memorable rhythms. 

“PERFuMITO NUEVO,” featuring fellow Puerto Rican artist RaiNao, flows effortlessly with a club-style production. RaiNao sings her verse angelically over an aptly timed beat, giving listeners a sense of elation that is sometimes difficult to achieve.

The fifth track on the album, “WELTiTA,” starts slow with a beachy tune playing in the background. It features Chuwi, another Puerto Rican singer whose sharper tone blends with Bad Bunny’s deeper voice. Chuwi’s contribution helps the song flow smoothly without any hitches. “WELTiTA is about a day on the beach, with simple lyrics. The track is an excellent representation of Bad Bunny’s versatility and his successful collaborations with fellow Puerto Rican artists. 

The sixth track, “VeLDÁ,” is the most commercially appealing song on the album and includes features from Puerto Rican musical legends Omar Courtz and Dei V. The artists’ singing styles are very similar, making the track feel repetitive at times. Overall, “VeLDÁ” is a good track but lacks the lyrical depth present in the rest of the album. 

The seventh track and first single, “EL CLúB,” gives listeners a glimpse into Bad Bunny’s life. He expresses feelings of insecurity and longing for a past relationship. The song itself has multiple beat switches, serving as transitions for his many complex feelings. “EL CLúB”  is vulnerable and sentimental, the culmination of Bad Bunny’s lyricism and excellent production.

The eighth track, “KETU TeCRÉ,” has a more traditional reggaeton beat and is reminiscent of one of Bad Bunny’s older songs, “Un Ratito.” The song continues the album’s theme of reminiscing about a past relationship. The chorus is exceptionally catchy, and overall, “KETU TeCRÉ” is a solid piece in an already strong lineup. 

The ninth song on the album, “BOKeTE,” is Bad Bunny’s most emotional. He sings in a higher pitch —  something unusual for him — and the song’s production is slow and melancholic, a heavy contrast to the album’s previous tracks. Towards the song’s end, Bad Bunny talks in his normal voice and expresses gratitude for his life while still acknowledging his struggles and how he will continue to live and love, making this a heartfelt track. 

The 10th song of the album, “KLOuFRENS,” has a more typical Bad Bunny reggaeton beat combined with electronic components. This song signifies a shift in Bunny’s mindset as he accepts his breakup. Sonically, this track is one of his weaker ones, although it maintains the album’s high standard. 

The 11th song of the album, “TURiSTA,” is the album’s strongest and most sentimental track. The production gives listeners a sense of coziness and retrospection, which serves the lyrics perfectly. Bad Bunny shows vulnerability as he describes how he has suffered emotionally. In the song, he comes to terms with the fact that it’s his responsibility to deal with his problems while expressing regret over his inability to communicate with his partner. He accepts that his relationship didn’t have a strong enough foundation to handle his issues, absolving his ex from blame. “TURiSTA” is the culmination of everything that makes Bad Bunny a stellar artist from his meaningful lyrics to masterful production.

The 12th song on the album, “CAFé CON RON,” provides an abrupt mood switch from the previous track. We’re introduced to “Los Pleneros De la Cresta,” a Puerto Rican band with a classic Caribbean feel that Bad Bunny effectively modernizes in the song. The track has a very catchy beat, energizing listeners. The song perfectly exemplifies Bad Bunny’s incredible mix of classic Spanish music genres. 

The 13th song on the album, “PIToRRO DE COCO,” was the second single Bad Bunny released for this album. The song’s production is terrific, with the instrumental as the focal point. Bad Bunny’s singing is also a major highlight, as his emotional lyrics and delivery touch listeners. 

The 14th song on the album, “LO QUE LE PASÓ A HAWAii,” is the most politically charged song on the album and is executed tastefully. Bunny draws a parallel between America’s treatment of Puerto Rico and Hawaii. He sends a message to his Puerto Rican listeners when he says, “No, no suelte’ la bandera ni olvide’ el lelolai que no quiero que hagan contigo lo que le pasó a Hawaii,” which translates to “No, don’t let go of your flag or forget the Lelolai because I don’t want them to do to you what happened to Hawaii.” The somber feeling of the song fits perfectly with its impactful message and is a perfect example of how to infuse a political message within a song. 

The 15th song on the album, “EoO,” is similar to a club song, and Bad Bunny employs electronic elements throughout. The beat switch midway through the song is somewhat abrupt but works well. He finishes the song by noting that he was raised on similar music during his childhood. 

The penultimate song on the album is the titular track, “DtMF.” The powerful feeling of the track can be attributed to the chorus’ impactful sentiment, which encourages listeners to appreciate their relationships while they can. Near the end of the song, Bad Bunny expresses gratitude for his fans and the people in his life, humbly adding to the feel-good vibes of the song. 

Finally, topping off the album is the song “LA MuDANZA.” The track starts unusually with Bad Bunny rhyming in his normal voice without a beat for roughly the first 45 seconds. He weaves a story of how his parents met and how it led to his birth. Upon announcing his birth, a sudden salsa beat brings life and emotion to the track, a perfect send-off for the album that highlights Bad Bunny’s ability to mix genres, his pride for Puerto Rico, and his personal growth.

Overall, “DeBÍ TiRAR MáS FOToS” is Bad Bunny’s most powerful and meaningful album yet; everyone should listen, regardless of Spanish proficiency. The album’s release has skyrocketed Bad Bunny as the number one global digital artist. Fans can rest satisfied with this masterpiece of an album.