Album Review: Bad Bunny’s Sophomore Album 'YHLQMDLG' Does Just That

Since its surprise Leap Day release, Bad Bunny’s new album has been crowned as Spotify’s biggest debut of 2020, and we’re willing to bet this won’t change any time soon.

Written by Samantha Paradiso

Benito Antonio Martínez Ocasio, most commonly known by his stage name Bad Bunny, jumped into the reggaeton scene back in 2018 when he released his single “Amorfoda” on Valentine’s Day. Since then, el Conejo Malo has quickly gained momentum, working with big names like J Balvin, Daddy Yankee, Anuel AA, Becky G, and Cosculluela. Despite his mainstream success, however, Bad Bunny has been anything but basic. A quick shuffle through the artist’s discography reveals beats and lyrics all too familiar in the urbano genre. However, his brand is far from traditional. Donning perfectly manicured nails, eccentric and flashy garb, and several ear and septum piercings, he embraces all the qualities that the reggaeton genre generally repudiates.

This carefully curated appearance is far from a facade created for marketing tactics, given his activism as an artist. Last July, the Puerto Rican singer returned to his island of Borinquen to protest alongside fellow artists Residente and Ricky Martin, halting his European tour to do so. Additionally, while promoting his latest single “Ignorantes” on The Tonight Show Starring Jimmy Fallon last week, Bad Bunny made quite the statement with his apparel, wearing a pink blazer paired with a skirt and shirt stating “Mataron a Alexa no un hombre con falda [They killed Alexa not a man in a skirt].” The message refers to the transphobic Puerto Rican media’s coverage of the murder of Neulisa Alexa Luciano Ruiz, a Black trans woman who was repeatedly misgendered and referred to as, “a man in a skirt.” Making waves in a genre that has been traditionally homophobic, misogynistic, and machista, it only makes sense that Bad Bunny’s new album, YHLQMDLG (an acronym for “Yo Hago Lo Que Me Da La Gana [I Do What I Want]”), is titled as such.

Upon hearing the first few seconds of the initial track, "Si Veo a Tu Mamá," listeners can already expect Bad Bunny to defy the trapero’s conventional sonic approach heard in his earlier music. With sincere lyrics like, “No sé por qué diablo' me engaño / Diciendo que te olvidé cuando te extraño [I don’t know why the hell I fool myself / Saying I forgot you when I miss you],'' Bad Bunny journeys through this heartbreak ballad with a sense of vulnerability uncommon in his genre. Using a soft electronic beeping as its base, the track’s beat resembles that of a Nintendo 64 video game home screen. Accompanied by light and airy composition, Bad Bunny’s vocals venture into high notes and lengthy runs, maintaining the track’s playful nature. The opening song’s lighthearted sound sets the stage for the rest of the album’s feel, where el reggaetonero fluctuates between several different genres, from pop, dancehall, to even rock.

Image courtesy of RIMAS ENTERTAINMENT LLC

His debut LP X 100PRE contains a similar genre-bending experience with tracks like “Tenemos Que Hablar” and “Otra Noche en Miami” alternating between pop and electronic beats, while tracks like “La Romana” derive their influence from Dominican bachata. As a whole, however, the album contains a cohesive sound anchored around his Latin trap feel. Now more comfortable as an established artist, Bad Bunny throws caution to the wind and experiments more than ever on his sophomore album. Collaborating with varying artists from the urbano genre, from industry giants to budding stars, el Conejo Malo adapts to these singers’ signature sounds while still remaining true to his own. His single “Ignorantes” plays upon Sech’s dancehall roots, highlighting the Panamanian artist’s drowsy vocals, layered harmonies, and tropical beats. “La Santa,” Bad Bunny’s collaboration with seasoned Daddy Yankee, mimics the “Gasolina” singer’s current pop style, interlaced with his hallmark adlibs and the catchy “Tú sabía' la que había, baby / No me diga' que te enamoraste de mí [Baby you knew what was up / Don’t go telling me you fell in love].” And with “Está C****n Ser Yo,” this flow with Anuel AA matches his typical trap style, replete with beat drops, heavily autotuned production, echoed adlibs, and slang playing upon the artists’ shared nationality.

But Bad Bunny isn’t just switching it up with the artists he features in YHLQMDLG, el trapero bounces around genres and styles from one track to another. “La Dificíl” emulates an earlier, Y2K reggaeton era with a more traditional beat for the genre. Meanwhile “Safaera” journeys through the many phases of reggaeton, at one point sampling Missy Elliot’s “Get Ur Freak On,” and paying a subtle homage to Alexis Y Fido’s iconic “El Tiburón” by occasionally playing the Jaws theme. “Safaera” in particular embodies the feel of a classic perreo anthem, deriving influence from rasta and dancehall styles in the genre’s Caribbean roots. In “25/8,” he returns to his Latin trap brand, with a sound resembling that of a Travis Scott or Migos record. Then, the shift from “P FKN R” to “Hablamos Mañana” guides listeners from a track that starts off as a regular reggaeton chorus with slight rock influence, to a full blown hard rock solo while Duki screams the final chorus.

To end the album, a seamless transition from “Hablamos Mañana” to “<3” reveals a spoken-word style outro where Bad Bunny reflects on his accomplishments as an artist. Backed by strings, the track maintains a harmonious feel with lo-fi production, complementing the artist’s meditations. Even in his reflections, however, the Puerto Rican singer refuses to be idolized, stating, “Yo no quiero ser un Dios, yo no quiero ser un rey [I don’t want to be a God, I don’t want to be a king].” And even though he’s achieved what many artists have yet to accomplish, he’s stayed true to himself, thanking his parents for humbling him because “Gracia' a ustede' soy el mismo to' los año' / Recuerdo, castigao' me iba pa' la cama / Por eso ahora de grande hago lo que me dé la gana [Thanks to you I’m the same me from all these years / I remember going to bed punished / That’s why now as an adult I do what I want].” It’s with this concluding statement that Bad Bunny encapsulates the energy he brought to his second LP.

Despite his experimental approach to the album, the reggaetonero managed to coalesce the varying features, styles, and genres. Whether it’s his clothing, his actions, or his approach to music, Bad Bunny has demonstrated the rewards of challenging the traditionally rigid conventions of reggaeton and doing what you want.

REVIEWSAfterglow ATXMarch 5, 2020