Bad Bunny’s Nadie Sabe Lo Que va Pasar Mañana
After Pitchfork reported that his much-anticipated album, Nadie Sabe Lo Que va Pasar Mañana was to be released on Oct 13., Bad Bunny fans had much to look forward to after savoring the summer heat of his last album, Un Verano Sin Ti in 2022. To say that Bad Bunny has become a generic household staple within the playlists of the newer generation is an understatement. With the ability to perform outside the boundaries of what is normal reggaeton by incorporating many samples of other genres, Bad Bunny’s artistic nature definitely keeps him relevant, and for his fans like myself, he continues proving exactly what his discography demonstrates: His music is a reflection of him, and he ages as a fine wine.
To the album itself, Nadie Sabe definitely follows Bunny’s attitude to a time before, rather a nostalgic time. Perhaps, this overall theme is what Bunny described in multiple interviews as this album being one for, “his true fans.” As the cover art was an interesting choice, maybe something to do with his current girlfriend Kendall Jenner’s love for horses or rather, the symbolism of a cowboy riding off into the unknown dangers of tomorrow, it was a nice simplistic design. Now, enough rambling, and let’s get into the album.
The album consists of 22 songs, all ranging from a variety of topics he sings about; Lust and sex, feeling powerful, expensive yet indulging lifestyles, and Japanese whiskey to places and F1 cars. However, there’s one song in particular that stood out, and as luck would have it, “Nadie Sabe” took that place. It’s a common theme regarding artists feeling separated by their lifestyles from the parasocial ones that many fans feel. However, the orchestra makes Bunny’s voice stand clear as a conversation with the listener rather than a song and he’s under the spotlight with one thing to say –his haters might wish for his downfall, but he’s not backing down without a fight. Albeit a six-minute song as it’s the longest song on the album, he addresses many topics such as the infamous phone controversy where he was caught on video chucking a fan’s phone after she was videoed pushing into him to try to get a selfie with him to a memorable quote where he says, “I’m not in my peak, I’m in my prime,” which references a similar line from a previous album in his album, El Último Tour Del Mundo. The contrast is definitely there, but well appreciated as someone who views his music with open arms.
The rest of the songs on the album are truly great in their own unique way. With hits like, “Monaco”, “Perro Negro (With Feid)”, “No Me Quiero Casar,” and “Hibiki,” these songs solidified the album for me. Listening to them made me feel the different themes portrayed like living the high life in Monte Carlo, not wanting to marry and chasing the career, and ultimately, indulging one’s desires with someone that provides a similar experience/taste of high-quality Japanese whiskey. Nevertheless, the beat and rhythm vary, still carrying that trap vibe that rose Bunny to fame with the different time lengths. While some of the lyrics from songs like “Fina” or “Baticano” did catch me off guard in a humorous light, I nevertheless had an enjoyable time listening to the album. As usual, I’m happy with the work Bunny has put into the production of the album and I can highly say, it was definitely worth the wait. So, for those who are able to go to his highly priced concert unlike myself, I do hope you enjoy belting out some of these songs as I will be from the comforts of my own home.
