By Aminata Diallo
Last year, Bad Bunny dropped DeBÍ TiRAR MáS FOToS, and we can say the media, and my listening history, hasn’t stopped buzzing since his Super Bowl performance. His halftime show sparked weeks of conversation around representation, amplifying Latin art, and was relevant due for the current times where many brown and black Americans face continuous pushback and underappreciation from our leaders. The well put-together set, vibrant Puerto Rican synths, and historical factors of his performance was the encouragement I needed to finally tune into the well-known Latin superstar.
Let’s get into the album.
Starting off strong, ‘NUEVAYOL’ sets the tone, immediately introducing a familiar El Gran Combo sample, then transitioning into a dembow-inspired, high-energy synth that’s probably expected to move any crowd it graces. Immediately becoming one of my favorite tracks due to the striking familiarity I felt while spending childhood summers in the Bronx with my family, surrounded by Latin and various international subcultures. This ended up at the top of my “BRAZIL 2026 TRIP” playlist before I could get through the entire LP!
For a change of pace, ‘BAILE INoLVIDABLE” offers a more melancholy, nostalgic experience. It leans into a late-night drive feel that creates nostalgic. Less of a high-energy party song, more of an 80s synth that remains timeless. It’s catchy, but with an underlying sadness to the melody that highlights his creativity.
Then there’s the title track, ‘DTMF’ which also happens to be the first song I heard before listening to the album. Might be cliché to some, but it’s easily my favorite song on the whole project. It starts as a slow, neutral plena inspired track, then dives into sentiments that would send you right back into limerence. The chorus hit hardest for me, where Benito proclaims, “I should’ve taken more pictures when I had you,” and “I should’ve given you more kissed and hugs.” The song serves as a bittersweet reminder to value those in your life, and that no expression of love is too much. The crowd at the halftime show proved the potential of this track becoming a true integrating global anthem.
The rest of the project is equally ambitious, moving through a variety of textures and moods. “EL CLúB” is a fascinating experiment, starting as a slow ballad before moving into a house beat that feels very forward. Then you have tracks like “PERFuMITO NUEVO” and “EoO,” which proves he can still deliver high-energy tracks and featured artists without feeling formulaic. Even the more politically charged songs like “LO QUE LE PASÓ A HAWAii” show a version of Benito who is more concerned with his message to the world and his legacy than numbers and chart placements.
Overall, DTMF feels like Benito is giving himself grace for imperfection. It’s about growth, grief, love, and the importance of valuing those in your community. Seeing this message amplified at the Superbowl made it clear that Bad Bunny’s stardom has skyrocketed; he’s a cultural force using his platform to say the quiet parts out loud. To me, it’s his magnum opus, and an incredible piece of work.