The Best Latin Albums of 2025

The Mexican artist known as Blue Rojo embraces the dark subterranean world of the club underground on CDMXXXXXXX, an album he’s described as an examination of social opulence. Alongside Venezuelan DJ and producer v1fro, he finds new ways to wind through unexpected electronic sounds, pushing his genre-bending style into hyperpop overdrive while putting a spotlight on the city’s queer scene and culture. —J.L./L.V.

Titled after the mythic corrido figure Camelia la Texana, Estevie’s La Traición y el Contrabando is a bold display of her experimental-cumbia-pop edge and her distinct vibrato. She opens with the haunting “La Eternidad,” setting the tone for her love-on-fire approach before sliding into the heartbroken “Esa Fui Yo” and even sampling Foreigner’s “I Want to Know What Love Is” on “Quiero Saber.” Throughout, she blends Iván Cornejo–style longing with her own cumbia sensibility in a way that feels natural and fully Estevie. —T.M.

Puerto Rican artist Pink Pablo has a talent for pulling listeners into quiet spaces with him, lulling them into worlds that somehow toggle between melancholy moodiness and a little whimsy. His album All I Dream dives even deeper into his surreal universes, presenting anxieties and preoccupations and deep thoughts all at once. Songs like the Paopao-assisted “Me QUEDO AKI” and the dreamy “Horses in Heaven” show how he blends an ethereal, introspective side with the gloomy energy of dark reggaeton and urbano. —J.L.

Using metal to uplift its Mapuche ancestry and struggles, Chile’s Mawiza gave us one of the most original-sounding albums of the year. Underlying the band’s emotionally charged vocals are a mix of death and groove metal as well as the addition of native instruments and ancestral chanting—as heard on tracks like “Pinhza Ñi Pewma” and “Mamüll Reke.” In the end, ÜL proved that metal can transcend language barriers and give us one of the genre’s best releases. —M.H.

So many artists have started to understand the power of revisiting the deep-rooted traditions that shape a country’s sounds this year, but for Dominican artist Vicente Garcia, these kinds of excavations have always seemed innate. The singer-songwriter has constantly found a way to infuse his music with an energy that feels connected to the past while remaining refreshingly modern, and his album Puñito de Yocahú is no exception. As he traces genres like reggaeton, bachata, pop, and merengue, he pays tribute to the Caribbean and puts its the front and center. —J.L.

Given that Novela took about 40 years to make, it’s no surprise that it marks one of the most ambitious albums of Fito Páez’s career: Novela, an opera that he started developing in 1988, and finally reworked and finished last year during a lengthy — and furious — creative spell in Madrid. The plot, which takes place in Páez’s native province of Santa Fe, involves a witchcraft university, an itinerant circus, and the fateful meeting of two teenagers. A complex work made up of 25 tracks, Novela will definitely be remembered as one of the singer’s most fascinating peaks. —E.L.

In a year where many artists looked towards their cultural roots for inspiration, Puerto Rican indie rapper and producer Enyel C returned to tradition in a wholly unique way. His rousing sophomore effort, Nuevo Caribe, recalls the storied ragga and dancehall influences on Latin urban music — especially in the Caribbean — and crafts lively fusions that sound both familiar and fresh, inviting fellow caribeños Diego Raposo and Letón Pé along for the ride. —J.J.A.

Last year, Eladio Carrión got personal with Sol María, an album he dedicated to his mother and that he filled with (slightly) mellower than his usual fare. But this summer he returned to his popular KBRN series of LPs, with its fourth entry, DON KBRN. The Puerto Rican trap rapper’s dexterous wordplay has kept fans flocking to his increasingly popular storytelling vignettes. One way of translating DON KBRN is as “Awesome Gift” or “Talent” and he might as well be talking about his own. —J.J.A.

To commemorate a decade in the music industry, Feid took the biggest risk of his career yet. The Colombian superstar produced, arranged, and mixed his most experimental album Ferxxo Vol X: Sagrado — and pushed his sentimental perreo to the next level with R&B and hip-hop in mix in bangers like “I MIXX U” and “DALLAX” featuring Ty Dolla $ign. Ferxxo’s most drastic evolution was also his most daring without losing any of the introspection, sentimentality, or humor that has set him apart. —L.V.

Growing up in Texas, Black Pumas resident genius Adrian Quesada discovered the hazy, baroque Seventies baladas of Los Pasteles Verdes and Los Ángeles Negros. Like the now classic 2022 Boleros Psicodélicos session, this second installment combines reverential covers of cult favorites with original compositions that recreate the moment when Latin music fell in love with harpsichords and Beatlesque psychedelia. Once again, the guest vocalists tackle the songs with abandon, from Gepe’s lordly reading of the Joseles nugget “Te Vas Y Yo Te Dejo” to the cosmic gloom of “Afuera” with an inspired Ed Maverick. —J.L.

Mabe Fratti’s precise sense of melody and daring experimental methods has made her one of the most exciting artists in recent years, and her album with Titanic — her duo with Hector Tosta a.k.a. I. La Católica — shows this quality in full swing. From the city pop-like “Lágrima Al Sol” to the drone doom melodrama “La Dueña” to the proggy epicness of “Te Tragaste El Chicle,” Hagen was a wild and exhilarating ride. —M.H.

Joyce Santana’s prodigious pen has never been in doubt by those who have been following his career for the past decade, and his long-awaited Nada Personal captures him at the height of his prowess. Oscillating from the raunchy paint-the-town-red energy of “MJM” to the introspective raps of “El Gigante de Carolina” and “Rehab,” the album feels like a master class in how an artist shows off his range and channels the best of himself. —J.J.A.

So much of our life is spent commuting, and with Amor de Encava, the Venezuelan experimental collective weed420 blows up these chunks of dead air into sonic collages capturing the melancholiness of a country stuck in limbo. Built on a rhythmic backbone of salsa baúl and atmospheric traffic noise, the album layers reggaeton easter eggs and crooner classics with memes and fair hike announcements that underscore generational struggle and a life-sustaining sense of humor. —R.V.

Better Late Than Never is a bachata collaboration for the ages. Across 13 tracks, Prince Royce and Romeo Santos deliver a tropical love album that blends their classic styles with hints of afrobeats and urbano. The record nods to Romeo’s signature spoken-word storytelling while exploring R&B on “Dardos” and “Jezebel” and Dominican palo on “Ay! San Miguel.” Santos helms much of the album, though both stars co-wrote four songs, letting their voices and songwriting shine throughout. It’s a celebration of an iconic genre, uniting the King and Prince of bachata. —T.M.

Forerunners of the current guitar-centric underground scene in their home country, Mengers took off to another dimension with Flavio, and perhaps will point to a new direction for the entire scene. Adding analog electronics to their garage-inflicted anthems, Mengers explored music that was thrilling, subdued, askew, and beautiful, often in the same song, including on highlights like “S.A.,” “INC.,” and “Z.” —M.H.

At the intersection of Greek mythology and earthly ecstasy, of Chilean folk and cosmic prog-rock, Javiera Electra’s debut album Helíade swells into an emotional storm of love, mourning, and trans resilience. The sorrowful farewells of “Del Campo a Mar” are ameliorated by sumptuous bolero arrangements, while the Andean cumbia of “Lágrima del Sol” booms with anthemic majesty, pleading for the flames of our most vulnerable and beloved never to be extinguished. —R.V.

Elena Rose’s Bendito Verano feels like a deep breath at sunset. The album is a warm, love-soaked album built on reassurance and a quest for love. The Venezuelan singer-songwriter channels poetic optimism as she moves through a love story’s stages, from the prayer-like “Alelujah” to the afrobeats-leaning “Gangsta Love” and the tropical glow of “Luna de Miel.” With Young Miko on “Gyoza” and Justin Quiles on the breezy standout “Cosita Linda,” Rose leans into gratitude and vulnerability on the LP, delivering an angelic debut that perfectly encapsulates her style. —T.M.

Most Café Tacvba fans already knew that keyboardist Meme del Real is the quartet’s most gifted composer, but this first solo outing still hits like a revelation. After moving to the countryside outside Mexico City, del Real reassessed a dormant folder of demos that he had kept from Tacvba, and decided to sculpt them into an album with the assistance of producer Gustavo Santaolalla. Lead single “Princesa” is an epic slice of 21st-century prog, while “Tumbos” delivers a grinning fusion of neo-bachata with synth-pop. We can only hope that more solo excursions will follow soon. —E.L.

How do you chronicle a young woman’s descent into madness in song? Juana Rozas has perfected the recipe. Her second album, the corrosive TANYA, is a gorgeous subterranean nightmare informed equally by Nine Inch Nails and Charli XCX. The Argentine singer sources her ingredients carefully: heavy distortion, electro blips and industrial clang. The wicked mix of manic chaos and refined melodic grace shines on “ANTONIO”— a toxic love affair described with startling sincerity — and becomes painfully vulnerable on “TANYA LOCA.” Duets with Santiago Motorizado on the noir ballad “RIDÍCULO” and Chita on the serrated chacarera “BESITO A LAS FLORES” bring Tanya’s saga to a poetic, affecting climax. —E.L.

During a year when many Mexican acts veered from traditional corridos, Clave Especial went in on them full-force. The Street Mob–signed heavyweights packed Mija No Te Asustes with 16 corridos that reminded us of música mexicana’s continued dominance, tapping Fuerza Regida for the viral “Como Capo” and “No Pasa Nada,” Edgardo Nuñez for the tóxico-romántico “Tu Tu Tu,” and Luis R Conriquez on “No Son Doritos.” The album blends classic and modern touches, resonating deeply with their young audience. 2025 was Clave Especial’s biggest year yet — and it’s only the start. —T.M.

María Becerra’s Quimera is a beast. Named after the mythic chimera and built around four alter egos, the album weaves their stories into one fierce, multi-genre record that captures multiple characters and Becerra’s many sides. The opening alter ego, Jojo, launches with high energy and Brazilian funk; Shanina brings poppier collabs with Tini and Paulo Londra; Maite delivers darker textures and “Corazón Vacío,” before Becerra slips into her beloved cumbias, tapping icon Karina on “Vuelves Triste.” The closing tracks, including one with Jay Wheeler, find her stepping out of character to tell her own story alongside her partner, Rei. It’s an experimental approach to an album that allows fans of Becerra’s different sounds to find something to love. —T.M.

Guatemalan artist Ben Carrillo poured his heart into his debut project which chronicles his experience leaving his homeland and crossing the desert into the U.S. at the age of 15. Beyond his struggles, Carrillo shares his deepest hopes, heartbreaks, and relentless determination to succeed. His gritty vocals reverberate in the alt-rock track “PAPELES” where his demands for citizenship are echoed by millions of immigrants in this country. Each track is cleverly titled and bounces through a few genres including reggaeton on the boisterous, pride-filled anthem “CENTROAMERICANA,” while the tropical pop of “PRESIDENTE” pays tribute to anyone who has had to leave a place they love in pursuit of their dreams. —R.A.

Following her win for Best New Artist at last year’s Latin Grammy Awards, Ela Taubert elevated herself to Latin music’s most relatable pop princess with her debut album Preguntas a Las 11:11. The Colombian star teamed up with Joe Jonas for a more angsty version of her breakthrough hit “¿Cómo Pasó?.” She also enlisted pop masterminds Max Martin and Rami for the breakup anthem “Es En Serio?” With her talent for bright hooks and instantly catchy choruses, Taubert shows her reign is only beginning. —L.V.

As a young pioneer of the Gen-Z takeover of música mexicana, DannyLux continues to push the genre to new places. The Mexican American troubadour masterfully blends his bicultural roots in his most ambitious album yet, Leyenda. Calling yourself a legend at 21 might seem like a tall order, but years from now, DannyLux will warrant the label with songs like the mighty title track and the dreamy alt-pop corrido “Sirena,” all signs of his more introspective, avant take on traditional sounds. —L.V.

Young Miko’s last album, att., made it onto our 2024 list and underlined her status as a legit pop star (see: recently opening for Billie Eilish’s tour.) This year Miko dropped Do Not Disturb, and it features an even more polished and confident version of the artist making the best music of her career. Hits like “Wassup” and “Likey Likey” show her in full command of her voice and her delivery as she changes up her flow with ease. Alongside longtime producer Mauro, the two of them also get imaginative, stylizing the album like a stay out at a hotel, compete with sound details like housekeeping calls and elevator dings. The whole thing succeeds is in making DND a creative step-up on all fronts. —J.J.A.

There’s a reason Benny Blanco calls Netón Vega one of the best artists he’s “been in the room with.” Vega proves it across Delirium, his party-ready sophomore album that follows his also-great música mexicana project Mi Vida Mi Muerte from earlier in the year. On Delirium, Vega leans fully into reggaeton, rap, EDM, and even pop, showcasing his laissez-faire vocal delivery while pushing himself out of his comfort zone. “Perro Fiel,” his pop-leaning, slower collab with Blanco, is a standout, while “Desvelaos” closes the project a nod to his roots. With many Mexican artists pivoting outside of corridos this year, Vega landed one of the best. —T.M.

After her 2023 Latin Grammy win for Best New Artist, Joaquina’s rise continues. Her sophomore effort al romper la burbuja received four nominations at the 2025 Latin Grammy Awards and featured the singer-songwriter navigating a gut-wrenching breakup through vulnerable, intimately felt lyricism. She describes the complexities of heartbreak, unafraid to also include captures the ugliest thoughts and behaviors that can come up during so much emotional turmoil. Her sharp penmanship is precisely what makes the project relatable at any age; Joaquina maturely confronts pain and loss at 20 in a way anyone would feel at 45, 60, or 80. —R.A.

There’s an effortlessness that surrounds Marilina Bertoldi, the Argentine rocker who has made rebellion a part of her sound. On Para Quien Trabajas Vol. I, she delivers acerbic, clear-eyed observations about politics, social issues, and deeply vulnerable feelings, to the backing of razored guitars and New Wave synths. She ends up landing one of the most concise and interesting Latin rock albums of the year — 30 minutes of sheer power and compelling stories. —J.L.

Who knew that the voices of Bomba Estéreo’s Li Saumet and Rawayana’s Beto Montenegro would generate such a sympathetic alchemy together? A one-shot supergroup with members of both bands, Astropical provides the ultimate chill-out experience, a languid celebration of life and rhythm filled with sharp, nimble downbeats, beachside harmonies and champeta spice. On “FOGATA,” the high-contrast vocalizing of Beto and Li cherish the ephemeral nature of life — which, ironically, makes the long nights of musical revelry even more memorable. —E.L.

Rauw Alejandro’s Cosa Nuestra: Capítulo 0 is a tour of the Caribbean: Across the record, he taps son cubano, jazz, bachatón, reggae, and bomba in celebration of the islands’ musical lineage. The lyrics stay horny on tracks like “GuabanSexxx,” he slips into his perreo bag on “Buenos Términos,” and he brings in Rvssian and Nigerian star Ayra Starr for the afrobeats-leaning “Santa.” The album served as a prequel to his excellent Cosa Nuestra, but the record lands as an equally great standalone project. —T.M.

With this misty-eyed, insanely ambitious double album, Humbe concludes the sentimental trilogy that began with ESENCIA and ARMAGEDÓN. Here, the regiomontano singer/songwriter recovers from the bitter ashes of a catastrophic love affair by staying true to his soul, looking up into the sky, finding comfort in the natural world around him and the love that remains. The stately orchestral arrangements stay low enough in the mix for his vocals to steal the spotlight — as they should. The ghostly tropical lounge of “VEGAS” and the regal ranchera strings of “FANTASMAS” provide lovely detours. To HUMBE’s credit, DUEÑO DEL CIELO is every bit as epic as he dreamed it up to be. —E.L.

The latest in a seemingly endless succession of heart-wrenching masterpieces, Laferte’s 10th album glides forward in a storm of mist and tears like the imaginary soundtrack to a Latin film noir. Lyrically, this new batch of torch songs focuses mostly on the ferocity of desire and romantic betrayal — fittingly, her vocals sound ragged and liberated. With its combination of sexual frankness, orchestral bolero ritual and Portishead cool, “Las Flores Que Dejaste En La Mesa” confirms once again that, at 42, the Chilean diva is supernaturally gifted. —E.L.

In a year where Latin America’s biggest stars went roots, Cazzu’s Latinaje struck an excellent balance between confessional songwriting, sounds of her native Jujuy, in Northern Argentina, and the global trap and pop landscape she’s shaped for a decade. Showcasing formative Andean instrumentation on “Copla” and “Me Tocó Perder,” Cazzu also imbues corridos tumbados (“Dolce”) and cumbia (“Con Otra”) with cheeky nods to her recent tribulations in telenovela-esque relationship drama. —R.V.

Where exactly does an artist go after globe-spanning, stadium-size, record-shattering success? Colombian superstar Karol G turned inward. She began to think about all of the music that had inspired her childhood — baroque Eighties ballads, soaring vallenatos, merengue from dance parties in family living rooms in Medellin. What ended up pouring out of her was a bright, orange-hued compendium of 20 songs, all pulling from different parts of Latin-pop history — with an emphasis on the pop part. What’s accomplished here is carefree and breezy, interested in accessibility and relatability, stretching out like a mosaic of past and present. —J.L.

It’s been five years since the Puerto Rican duo Buscabulla released their last album Regresa — and that period was tough, to say the least. The band, partners Raquel Berríos and Luis Alfredo Del Valle, had their relationship tested after over a decade together, and they put those highs and lows into their art. The result? Se Amaba Así, which instantly became their most personal work yet — in an already deeply personal oeuvre — and a tender look at two people trying to find the most honest way to heal. —J.J.A.

Bringing politics to the dance floor is no new task for Colombian singer and producer Ela Minus, but with her jagged sophomore LP, DÍA, clarity emerged as she channeled her social quandaries inwards. The pummeling “QQQQ” is a bummer anthem for the ages calling for the forthwith end to a ghastly world, while the acerbic “IDOLS” turns the knife on our age of false prophets. But hope endures, and on “UPWARDS,” Minus repeats the mantra “I’d love to save you but I’ve got to save myself first,” a life-saving gasp of air in a sea of uncertainty. —R.V.

Kevin Kaarl needs nothing more than his guitar and wistful voice to pull you into his melancholic world. On Ultra Sodade, released on Valentine’s Day 2025, Kaarl reflects on the lessons learned after a breakup, drifting between escape and honest self-reflection. He teams with Nsqk for the tear-jerking title track, nodding to Cesaria Évora, and shines on “No Me Culpes Por Sentir,” as he sings over soft, aching acoustic melodies. —T.M.

Following her tenure with Colombian ensembles Ondatrópica and Canalón de Timbiquí, the esteemed cantadora Nidia Góngora takes the helm on Pacífico Maravilla, leading an aural journey through the organic rhythms and folk tales flourishing across the country’s Pacific Coast. From the traditional arrullos of “En los Manglares,” to the exuberant rumba of “Mi Sábalo,” and the playful marimbas of “Insistencia,” a stirring poem recited by Costa Rican anthropologist Shirley Campbell Barr, Black resistance soars with joyful and unstoppable purpose. —R.V.

As a teenager in Puerto Rico, iLe developed an obsession with the morbid turbulence of boleros — their shifty emotional universe helped her process the divorce of her parents. Now thriving as one of the key tastemakers in contemporary Latin, the former Calle 13 vocalist pays tribute to the genre’s golden era in a session that moves from the streetwise cynicism of Héctor Lavoe to Tito Rodríguez’s aristocratic longing and La Lupe’s unhinged pain. She eschews lush orchestrations in favor of sparse percussion and thorny electric guitars. Recorded during a break from her still-in-development fourth album of original songs, this is a crucial detour. —E.L.

Bent on reinventing herself, Natalia Lafourcade found solace in the songstress archetype of the cancionera, and delivered the most serene album of her career. Every single note counts on this immaculately produced session recorded live on tape by Adán Jodorowsky — a collection of sturdy originals that favor purity over artifice, neo-chamber tenderness over groove. She wears no makeup on the retro nugget “Cocos En La Playa,” flirting with the moon, joint in hand, leaving all baggage — and social media — behind. A duet with El David Aguilar, “Cómo Quisiera Quererte” suggests the bohemian candor of a late night session among friends. —E.L.

An eerie duality permeates Anónimo, the second studio album from Argentine singer-songwriter Juana Aguirre. Conveying childlike innocence through off-key woodwinds on “las mañanas,” and surrendering to percussive sensuality on “la noche,” the record is an entrancing electro-acoustic opus with a supernatural aura to boot. Dive into Aguirre’s dreamlike poetry and discover a mystery of broken embraces and lingering ghosts, laying her transgressions bare in a house with no corners in which to hide. —R.V.

Rusowsky has emerged as Spain’s most playful experimentalists and a central figure of Madrid’s Rusia ID collective, a group of merry pranksters known for music with off-kilter highs and avant impishness. Still, there’s something grounding about Ruso: A conservatory-trained pianist with an anarchic side, he shows fans the full scope of what he can do with his debut album, Daisy. There’s  bouncy sentimentality on “Altagama,” throwback pop on ““Sophia,” and even a little dreamy nostalgia on “Johnny Glamour” featuring a sample from none other than Las Ketchup. —J.L.

The latest from Álvaro Lafuente Calvo, who records as Guitarricadelafuente, is his most ambitious work yet. Moving away from the traditional sounds and acoustic-based influences of his earlier work, the 28-year-old Spaniard leans into pop hooks and dance-music-inspired textures, interspersed with gorgeous piano ballads like “Puerta del Sol.” “It’s about leaving the village behind,” the singer told Rolling Stone earlier this year, “and heading to the city to discover new things, to discover yourself.” The result is one of the most thrilling and adventurous records of the year. —J.B.

By now, Juana Molina has become one of Latin America’s most intriguing artists, building mysterious soundscapes that feel like finding your way through some kind of enchanted forest while in a deep trance. She’s been prolific as well, but DOGA is her first release in eight years, and it captures a period of expansive creativity from 2019 to 2024. The sounds aren’t afraid to haunt a bit, with each song spinning into its own supernatural world, but the compendium becomes a performance spectacle you want to get lost in again and again. —J.L.

After a decade of kaleidoscopic fusions, Mula’s fourth studio album, ETERNA, injected their Pan-Caribbean palettes with sexy blasts of darkwave. Assembling the Avengers of sapphic indie, Chilean synthpop queen Javiera Mena joins the merengue seductions of “Acelero,” while on “Grandes Escobas,” Mexican rock goddess Jessy Bulbo riffs and howls for witchy sisterhood. ETERNA shirks the Dominican trio’s futurist reputation in favor of sweaty thumpers for all seasons, tapping Letón Pé for the devilish perreo of “Sin Permiso” and evoking Alice DJ on the electropop bacchanal, “Popsy 404.” —R.V.

Milo J was only 18 when he recorded this astonishing third album, a syncretic love letter to Argentine culture that weaves strands of folklore, trap, and tango into a panoramic journey framed by the restrained gravity of his voice. The cutting-edge production and dream gallery of guest features — from trova icon Silvio Rodríguez and folk revival queen Soledad to rapper Trueno and a sample of the late Mercedes Sosa — add layers of sophistication, but the luminous poetic vision is all Milo’s. —E.L.

Fuerza Regida’s 111Xpantia feels like the band manifesting its next chapter while still owning the space it helped shape in corridos and Mexican music. It’s a homecoming to the group’s classic sound, but instead of pulling a full sonic pivot as on 2024’s Pero No Te Enamores, the musicians build on what already works. As JOP told Rolling Stone, “We tried to stick to the roots, but make that shit elevated.” And they did. Tracks like “Por Esos Ojos” and “Tu Sancho” hit with OG fans while pulling in a new wave of listeners. 111Xpantia is the record that solidified the Mexican American band as true stars. —T.M.

For her second album, 28-year-old Mexican singer-songwriter Silvana Estrada focused intensely on the formal beauty of her melodies, enlisting Arcade Fire arranger Owen Pallett for exquisite orchestrations featuring winds and strings. The result is a self-produced album of extraordinary tenderness that evokes the trova ethos of such Latin giants as Silvio Rodríguez and Mercedes Sosa. On the fearless existential reckoning of “Un Rayo De Luz,” the fairy-tale whistling of “Como Un Pájaro,” and the wistful contours of “Dime,” Estrada combines the earthy grit of a folk rebel with the glamorous luminosity of a jazz diva. —E.L. 

Rosalía has proven herself to be pop’s most provocative chaos agent, and Lux sounds like absolutely nothing else in music right now. Her irreverence is what makes the album such a shock to the system — she’s drawing from the greats but going for Mozart with baddie energy, Bach with a blunt in the mouth. Ultimately, the album succeeds because every song is deeply thought out and wildly heartfelt, tying back to heady ideas of what the hell we’re all doing here. She contends with pain and loss, anger and grief, sex and desire, love and worship, while trying to get a better understanding of who she is, the way she loves, and the spiritual forces that move her. —J.L.

On his sixth album, Debí Tirar Más Fotos, Bad Bunny brings listeners along for his triumphant homecoming with 17 songs that traverse Puerto Rico’s rich kaleidoscope of genres. It’s homegrown, jubilant, and fresh as Benito takes the best moments from Un Verano Sin Ti and pushes the limits of his continuously experimental sound into the unchartered territory of Puerto Rican folk music and salsa. Despite its hyper-specific cultural focus, or maybe because of it, Debí Tirar Más Fotos conquered 2025. It could be heard on the streets of New York, San Juan, and beyond — and helped Bad Bunny make history. The star became the first to host a residency at Puerto Rico’s El Choli, and he will bring the No Quiero Ir De Aqui Tour to the global stage in 2026, stopping to headline the Super Bowl halftime show and maybe even pick up one of the six Grammy nominations he’s up for along the way. The album and its dominance this year are a testament of where unwavering Borican pride can take Bad Bunny. —M.G.