A Deep Dive into Bad Bunny's 'Debí Tirar Más Fotos'
A culturally important album
Each year begins with the anticipation of an artist who will define its musical essence. This year, Bad Bunny claims that role with the release of his sixth studio album, Debí Tirar Más Fotos—a heartfelt ode to his homeland, Puerto Rico.
The title, translating to “I Should Have Taken More Photos,” serves as a portal to the his roots as well as the deep history of Puerto Rican music. To build excitement, Bad Bunny released two singles: “El Clúb” and “Pitorro de Coco.” The former fuses modern house rhythms with Puerto Rican folk influences, while the latter celebrates jíbara rhythms, interpolating Chuíto el de Bayamón’s Música Jíbara Para Las Navidades.
To deepen the narrative, a short film accompanied the singles. Directed by Puerto Rican filmmaker Jacobo Morales, it stars Morales alongside a cartoon frog named "Concho" (voiced by Kenneth Canales). In the film, Morales reflects on his memories, including encounters that symbolize the cultural displacement of Puerto Rico. From trying to order a Cuban sandwich at an Americanized restaurant to witnessing a U.S. family dominating the local neighborhood, the film captures several examples of the ongoing cultural displacement in Puerto Rico. Its message is clear: the Puerto Rico Morales once knew is fading.
Indeed “Debí Tirar Más Fotos” marked a significant departure from 2023’s Nadie Sabe Lo Que Va a Pasar Mañana—an album criticized for its focus on fame and materialism—this release reintroduces Benito Antonio Martínez Ocasio (Bad Bunny’s real name) as a storyteller deeply connected to his heritage. Fans who value his political and introspective tracks will find much to appreciate.
“When I listen to these songs, I feel like I’m back in Santurce, hanging out,” Bad Bunny shared in a late-December interview. This sentiment underscores the album’s creation, as every song was produced in Puerto Rico, capturing the island’s essence.
"All in Puerto Rico. All the salsa songs are made by young kids from Escuela Libre de Música. All of them are like 18, 19, 21 years old — young kids with a lot of passion and energy. Because people think, oh, now every young kid today is making reggaeton. No, there’s a lot of great, great musicians — young kids — that are only waiting for the opportunity." — Bad Bunny in an interview with the NYT
Talking with the New York Times, Benito also revealed why he made “Debí Tirar Más Fotos”:
“I should do something where I can plant a seed. I said, ‘Bro, that is the purpose — to give young people an opportunity to showcase the rhythms of Puerto Rico.’” — Bad Bunny in an interview with the NYT
The album’s title reflects a poignant reminder rather than an apology:
"The title of the album means ‘I Should Have Taken More Photos.’ I remember back in time photos used to be something very special. Today you can take a picture of everything. Maybe sometimes I don’t want a picture with someone for many reasons: Maybe I’m not in my best mood. Sometimes I feel that maybe this person is not a real fan. And also because maybe I got used to it and it’s not a special moment for me.
But for them, maybe it is and the person wants to save that moment. So that’s the meaning of the title — you should appreciate more the moments and the people. It’s not an apology, it’s more like a reminder to myself."
Soundwise, Debí Tirar Más Fotos draws from Puerto Rico’s rich musical heritage, blending música jíbara and folkloric styles with modern elements. The album showcases variety: the salsa-infused opener “NUEVAYoL,” the nostalgic “Baile Inolvidable,” and the reggaeton-inflected “El Clúb.” Despite the stylistic range, the album’s heartbeat is unmistakably Puerto Rican.
The production, spearheaded by star proudcers like Tainy, MAG, La Paciencia, and Chencho Corleone, bridges tradition and innovation. Their collaboration creates a sonic landscape that honors the past while resonating with contemporary listeners. From heartfelt nostalgia to vibrant energy, the album immerses the audience in Benito’s reflections on identity and heritage.
Track by Track Review:
NUEVAYoL
The album opens with a nod to El Gran Combo’s salsa classic Un Verano en Nueva York. This urbanized homage blends Puerto Rican and Dominican references, weaving in mentions of baseball star Juan Soto, the iconic Caribbean Social Club in Brooklyn, and Dominican hip-hop anthem “Capea el Dough.” Especially the Social Club holds major meaning, as it is one of the last remaining Caribbean clubs in Brooklyn and has survived for 50 years as an important place of connection for thousands of Latinos in New York City. A Spotify-exclusive teaser led fans to the club’s coordinates, deepening the track’s connection to its cultural roots.
VOY A LLeVARTE PA PR
This lively reggaeton track invites listeners on a celebratory journey through Puerto Rico. Benito starts with an reference to Concho, one of the two characters who stars in the short film of the album DeBÍ TiRAR MáS FOToS. The little Concho is inspired by the concho toad or Puerto Rican toad, a species which lives only on the island of Puerto Rico, but which is currently in danger of extinction. He’s also referencing reggaeton classics like “Me Quiere Besar” by the duo Alexis and Fido and “Déjale Caer To’ El Peso” by Héctor "El Father" and Yomo. Benito expresses pure joy for his homeland. Coordinates teased the song’s release, leading fans to a colorful alley in San Juan where the title was revealed.
BAILE INoLVIDABLE
At over six minutes, this salsa anthem is the album’s longest track. Crafted with the help of students from Puerto Rico’s Escuela Libre de Música, it’s a tribute to a lost love Benito deems unforgettable. He’s mentioning how he appreciates the experiences he has made with her, and is putting focus on her good qualities. The song’s title, “Unforgettable Dance,” serves as a metaphor for the uniqueness of his connection to this person. The song also pays homage to several Puerto Rican salsa songs, including "Juanito Alimaña" and "Periódico de Ayer".
PERFuMITO NUEVO
Featuring RaiNao, one of Urban’s most exiting voices, this intimate track explores themes of transformation and authenticity. Starting with a reference to Cinderella and her unique change at midnight, RaiNao is singing about how she’s undergoing the same cover in public. She also uses an metaphor for carambola/star fruit, to symbolize inner beauty. RaiNao’s ethereal voice perfectly complements Benito’s verses.
WELTiTA
In this atmospheric duet with Chuwi, Benito delivers heartfelt verses about finding happiness in a simple smile by his partner. Lorén Aldarondo Torres, the vocalist of Chuwi, continues this narrative in her verse. The song ends with an beautiful harmony between the two, complementing to the beautiful and touching sound of "WELTiTA".
VeLDÁ
A collaboration with Omar Courtz and Dei V, this track fuses reggaeton’s golden era with modern flair. Featuring references to La Perla, a neighboorhood in San Juan, which is famous for it’s lively nightlife, as well as several Puerto Rican classics, "VeLDÁ" is a celebration.
EL CLúB
The album’s lead single is a poignant exploration of heartbreak and nostalgia. He questions what could have been and how his life will be like, as well his ability to find a new person to love. Its accompanying music video features several powerful images, from critic on the economic disparity in Puerto Rico to a recall of the devastation caused by Hurricane Maria. Benito’s raw vulnerability makes this track resonate deeply, and the excellent video is a perfect display of the topics he cares about.
KETU TeCRÉ
Benito grapples with a deteriorated relationship in this classic reggaeton number. He raises concerns about his former partner changing their persona for a vibrant nightlife filled with parties at the club. Benito mentions his nostalgia, and reflects on the past. Reflecting on his emotions, he ultimately recognizes his worth and moves on with dignity, not regretting the breakup.
BOKeTE
This layered track critiques both personal heartbreak and Puerto Rico’s neglected infrastructure. The track sees Benito talking about an woman with whom he used to have an relationship. Unfortunately it faded over time, resulting in a loss of communication. "BOKeTE" are holes in the street due the poor or no maintenance done by the Government. Benito uses this as metaphor, critizing the government for it’s failures, as well as describing the communication loss with his former partner.
KLOuFRENS
Inspired by Instagram’s Close Friends feature, Benito candidly shares the pain of lingering hope after a breakup. According to him, his ex partner still keeps them on Instagram’s Close Friends. This is giving him false hope, and he can't help feeling illusional: "Pero veo el circulito verde y me vuelvo a ilusionar" (But I see the little green circle and I get excited again). The track’s relatability lies in its depiction of social media’s role in modern relationships and the struggle to move on.
TURiSTA
One of the album’s most vulnerable songs, “TURiSTA” uses the metaphor of a fleeting tourist to describe a lost love. Just like a tourist, she just visited him for the good times, and left before sharing the struggle of life with him. The track’s melancholic tone reflects Benito’s introspection on transient connections.
CAFé CON RON
"CAFé CON RON" features a collaboration with Los Pleneros de la Cresta, a music group established in 2013. The song delivers a lively, energetic celebration of Puerto Pican plena, together with some contemporary elements. The song also references the famous song "Vamos Pa' La Calle" by famous singer Hector "El Father", to whom Benito has already paid tribute multiple times in the past, including his remix of the same song.
PIToRRO DE COCO
"PIToRRO DE COCO" was the second single of the album, and was released along with an music video. The song is inspired by traditional Christmas and New Year's songs from Puerto Rico, including the jíbaro music of the rural and humble areas of the island. Those use typical instruments such as guitars, cuatros, tambourines and different percussions. Benito follows the line of festive songs talking about partying, drinking and the heartbreak from love. The title "PIToRRO DE COCO" mentions the popular type of coconut cane rum of the same name, made in Puerto Rico and which is stronger than the normal rum, especially in these times of celebrations. The song features the melodic progression of "Aires de Navidad" by Héctor Lavoe, Willie Colón and Yomo Toro, with several instrumental influences in the song.
LO QUE LE PASÓ A HAWAii
"LO QUE LE PASÓ A HAWAII" opens with a güiro, immediately drawing listeners in. The track is deeply political, as Benito expresses his commitment to protecting Puerto Rico. He fears Puerto Rico becoming a U.S. state like Hawaii, risking the loss of its traditions and culture. In one line, he laments: "The jíbaro is heard crying... He didn't want to go to Orlando, but the corrupt kicked him out." "Jíbaro" refers to rural Puerto Ricans, many of whom, like Hawaiians, were displaced by U.S. colonization.
Benito highlights this shared history of exploitation, pointing to government complicity in Puerto Rico's struggles. A leaked chat from a former governor’s publicist revealed the chilling sentiment: "I saw the future and it was wonderful, there were no Puerto Ricans."
A key issue today is beach access, where natives are excluded due to the influx of U.S. citizens taking advantage of tax benefits. This wave of foreigners has sparked a fight over resources, displacing Puerto Ricans. These themes are further explored in the short film for "DeBÍ TiRAR MáS FOToS."
Benito calls for preserving Puerto Rico's cultural identity and land, warning against external forces eroding its essence, as happened to Hawaii.
EoO
Produced by Tainy, "EoO" takes listeners back to the early 90's and pays homage to the el reggaetón de marquesina. The song samples the chorus of "Perreo Baby", a song by the former duo Héctor y Tito, formed by Héctor "El Father" and Tito "El Bambino". Also included is a sample of Bad Bunny's song "Solo de Mí", which is part of his first album "X 100PRE". Benito declares proudly that “this is real music from Puerto Rico”.
DtMF
"DtMF" (DeBÍ TiRAR MáS FOToS) serves as the title track and captures the fleeting nature of time and the importance of cherishing each day. Benito reflects on his regret of not taking more photos to preserve beautiful memories, wishing he had tangible reminders of past experiences. Set to a modern plena rhythm, the song underscores how life can pass by quickly, leaving us with fading memories that photos could help keep vivid.
The track is a poignant reminder to appreciate the present, savor the details, and truly live in the moment. Its nostalgic melody enhances this introspection, as Benito concludes the song with a commitment to seeking what truly matters in life. "DtMF" encapsulates the core themes of the album, standing out as one of Benito’s finest works.
LA MuDANZA
Benito closes the album with an intimate dedication to his parents and his home country. The song begins by recounting how his parents met, thanking them for their Puerto Rican origin and then for their cultural impact and artistic success. After an interlude, he shifts the focus to him and his beloved Puerto Rico, clamoring for the island's independence. He proudly sings that no one will get him out here, that Puerto Rico always will remain his home. "LA MuDANZA" is an intimate and beautiful last song for the album, closing with Benito showcasing what he loves the most, his family and Puerto Rico.
With Debí Tirar Más Fotos, Bad Bunny delivers a deeply personal yet universally resonant album. By intertwining Puerto Rico’s rich cultural legacy with his introspective storytelling, Benito not only redefines his artistic identity but also reinforces the importance of cherishing one’s roots. He is setting the tone for other artists to follow him and explore their own homeland’s struggles. Both fans and newcomers to his music will find themselves captivated by the Puerto Rican sound and the deep messages shared in the album.
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