The latest album from Bad Bunny, Debí Tirar Más Fotos (“I Should Have Taken More Photos”), released on January 5, 2025, marks a profound return to his roots and a bold assertion of Puerto Rican identity and resilience. Dropping on Día de Reyes, or Three Kings Day, the release date itself feels symbolic—a nod to tradition, family, and cultural celebration. Spanning 17 tracks, the album intertwines deeply personal storytelling with broader socio-political commentary, creating one of Bad Bunny’s most reflective and resonant projects yet.
At its core, Debí Tirar Más Fotos is both a love letter and a cautionary tale about Puerto Rico’s cultural and environmental vulnerabilities. Tracks like “Lo Que Le Pasó a Hawaii” address the dangers of cultural erasure and displacement with piercing lines: “Quieren quitarme el río y también la playa / Quieren el barrio mío y que abuelita se vaya” (“They want to take my river and my beach too / They want my neighborhood and for grandma to leave”). The traditional plena rhythms paired with modern production amplify the song’s message, portraying the enduring impact of colonial legacies and the dangers of unchecked tourism.
The album’s dedication to showcasing Puerto Rico’s musical heritage is undeniable. Songs such as “Café con Ron” and “Baile Inolvidable” highlight traditional genres like plena, bomba, and salsa, brought to life by live instrumentation from young musicians at the Escuela Libre de Música in San Juan. By spotlighting rising stars like Chuwi and RaiNao, Bad Bunny reinforces his commitment to fostering the next generation of Puerto Rican artists and preserving the island’s rich musical traditions.
However, Debí Tirar Más Fotos is not solely an ode to tradition—it also delves into intimate themes of love, loss, and nostalgia. The title track reflects on memories left unpreserved, mixing nostalgia with melancholy, while “Pitorro de Coco,” inspired by a traditional Puerto Rican holiday drink, weaves together celebration and wistfulness. These moments reveal Bad Bunny’s vulnerability, offering a glimpse of Benito Antonio Martínez Ocasio beyond the global superstar persona.
The visual storytelling accompanying the album adds another dimension. Each track’s visualizer includes historical context provided by Jorell Meléndez-Badillo, a noted scholar of Puerto Rican history, underscoring the island’s fight for cultural preservation. The short film directed by Jacobo Morales, a renowned Puerto Rican filmmaker, illustrates the encroachment of gentrification through the poignant tale of an elder witnessing his community’s transformation.
Politically charged songs like “Turista” extend the metaphor of fleeting relationships to critique superficial tourism, confronting the tension between external admiration and internal struggle. Bad Bunny’s sharp critique of those who romanticize Puerto Rico without engaging with its realities is balanced by a call for cultural pride and solidarity.
Even with its weighty themes, the album pulses with energy and celebration. Tracks like “El Clúb” and “Velda” invite listeners to the dance floor with their infectious reggaeton and house-inspired beats. Yet, beneath the pulse of the rhythm lies a constant reminder of the island’s resilience and enduring spirit.
Debí Tirar Más Fotos closes on a reflective note, reminding listeners of the enduring connection between music and cultural identity. In this latest work, Bad Bunny seamlessly fuses introspection with activism, inviting audiences to reflect on the stories they choose to preserve and the legacies they uphold. “Yo soy de P f—in’ R,” he proclaims, a declaration that keeps Puerto Rico’s legacy prominent on the global stage.
