I listened to this album on the same day as Phoebe Bridgers’ Stranger in the Alps, and they couldn’t be more different albums. While Bridgers sings hauntingly with mellow instrumentation, Bad Bunny’s album is a maximalist celebration of life.

There is a hedonism here, and it’s the other side of our collective loss of meaning. We might characterize it as an existentialist (or maybe even absurdist) approach: it doesn’t matter what you do, create your own meaning! That’s said, it is introspective; no less than Bridgers’ album is.

Musically, “Dákiti” is the best song of the album. I listen to that song over and over and over again. “La Noche de Anoche,” on the other hand, seems to be the fan favorite, and I can’t really fathom way. It’s a good song, and Rosalía’s inclusion makes it that much better, but it’s still not quite as good.

Ultimately, this is a Covid-19 era album, and it’s one that launched the desire to go out and do after months (if not years) of staying in quarantine.