Un Verano Sin Ti (2022) Bad Bunny

Written by Meenakshi Nirmalan

Throughout school, I often was dismissive of reggaetón and Latin trap. I studied Spanish at A Level so have always been very much interested in the language, as well as the wider culture of the Spanish-speaking world. However, I avoided these genres, as I felt that this wasn’t the ‘authentic’ sound of the Spanish-speaking world, often asserting that listening to the likes of Willie Colón, Héctor Lavoe and so on, would be a better way to experience the sound of Central and Latin America. As I’ve gotten older, I now realise that the separation of art into ‘high’ and ‘low’ culture is fundamentally unhelpful. Just because something is not traditional, does not make it ‘inauthentic’ and it’s best to explore new genres, whilst setting your preconceived notions aside.

Un Verano Sin Ti is an absolute tour de force. The album makes me feel nostalgic for the evenings that I spent in Medellín and Bogotá last summer. I hadn’t listened to the album from start to finish until after I came back home. There were a few tracks that I had listened to before visiting Colombia, such as Tití me Preguntó, Me Porto Bonito, and so on. I kept hearing these songs around, particularly in Medellín, which compelled me to listen to Un Verano Sin Ti properly and eventually, I started listening to reggaetón more consistently.

What makes Un Verano Sin Ti special is the way in which Bad Bunny sews together a variety of different genres. Within the overarching sound of reggaetón, you hear elements of trap, dancehall, faux-bossa nova, reggae, indie and dream pop. However, of the latter genres listed, you only hear traces, subtle but strong enough. They all come together to form a mosaic, a patchwork of different sounds. I hadn’t actually looked at the album cover in detail, until writing this piece. It’s pretty, with shades of pastel pink and blue, along with a bright yellow. The image is evocative of the nostalgia of a summer well-spent.

Un Verano Sin Ti was nominated for ‘Album of the Year’ at the GRAMMYs but missed out to Harry’s House (unjustly so, in my opinion). There are 23 tracks on Un Verano Sin Ti, which might be considered unusual for a mainstream album. However, each track is relatively short, taking you on a musical journey across genres. The songs don’t necessarily feel interlinked, nor do they flow on from each other, but Bad Bunny makes it work. The various tracks move with ease, from being upbeat and vibrant, to mellow and chill. Nothing ever feels arbitrary. Even though the album was only released two years ago, the sound already has a timeless feel to it. I am sure the album will become a classic. Currently, Bad Bunny is one of the most listened to artists on Spotify. He has done a great job at bringing música urbana to a global audience, transcending language barriers.

The album has a great range of features. Each different artist brings a distinct, revitalised energy to the table, varying the style. Two of my favourites are the songs Ojitos Lindos, featuring Bomba Estéro and also, Otro Atardecer, featuring The Marías. Prior to listening to this album, I had heard of The Marías but not Bomba Estéro. The latter are a Bogotá-based band, whose style has been described as ‘electro-tropical’ or ‘psychedelic cumbia’. They fuse traditional Colombian rhythms, such as salsa and cumbia with electronic music. Moreover, The Marías are a Los Angeles-based band, whose sound draws from psychedelic soul and indie rock. The inclusion of both artists on Un Verano Sin Ti help with the pacing of the entire body of work. Both tracks are more mellow, with dreamy vocals, providing a contrast to the typical energetic beat that characterises reggaetón.

I won’t break down each and every track I enjoy on Un Verano Sin Ti, as I’d essentially be listing the whole album. However, if I had to pick my favourite track, it’d be Tití me Preguntó. I love the energy of this song; I love how confident and unapologetically brash Bad Bunny is with his lyrics, characteristic of the genre. Tití me Preguntó begins with its chromatically descending introductory riff, eventually fading to silence. Bad Bunny starts rapping, saying “Tití me preguntó / si tengo muchas novia’ / … / Hoy tengo a una, mañana otra / Ey, pero no hay boda”. Later, the reggaetón style drumbeat kicks in, accompanied only by intermittent bass notes. This minimalistic setup makes Bad Bunny’s vocals stand out even more, giving the song a vigorous energy. Towards the end, it strips back down and eventually, the song goes in the direction of trap. Bad Bunny contemplatively raps “Hazle caso a tu amiga / Ella tiene razón / Yo vo’a romperte el corazón”. I appreciate how fun and lighthearted these lyrics are. Not every song requires profound lyrics for it to be considered an impactful track. Additionally, I think Tití me Preguntó is well-crafted as I love how many different directions Bad Bunny takes the song in, despite each section being straight-forward, from a musical standpoint. Sometimes less is more.

Moreover, Andrea (feat. Buscabulla) is an interesting song to take note of. It doesn’t adhere to the conventions of traditional reggaetón lyrics. The tone is more solemn, contrasting the playful nature of tracks such as Tití me Preguntó. Bad Bunny raps “Quiere quedarse en PR, no irse pa’ ningún estado, pero / Todo se ha complicado / Como si ser mujer fuera un pecado / La demonia ha despertado”. Bad Bunny explores the experience of the safety of women in certain parts of Central and Latin America. In my opinion, just because a song is socially conscious, it doesn’t necessarily correlate to it being a good piece of art (and vice versa). With this being said, I enjoy listening to Andrea. It’s a standout for combining socially conscious lyrics with quality music. It is interesting to observe these new directions in reggaetón, as well as noting Bad Bunny’s versatility.

In closing, Un Verano Sin Ti is one of the best albums of the 2020s, taking música urbana to new heights. It is indisputable that reggaetón and Latin trap will always be an integral part of the Puerto Rican sound. After all, as Bad Bunny exclaims in El Apagón: “Puerto Rico está bien cabrón”. The genre has been a key factor in putting Puerto Rico on the map and it has now been brought to people all over the world. To be dismissive of reggaetón’s impact in the last few decades would be a great injustice. Not to mention, you’d be missing out on some great music too.