Singer: Bad Bunny
Place and date: Estadi Olímpic Lluis Companys (23/V/2026)
Rating: ★★★★✩
After Bad Bunny left his earflap hat, gloves, and microphone on the stage floor at the end of “EoO,” the last song of his second concert in Montjuïc, after two hours and forty minutes of show, we left the Olympic Stadium amid thunderous fireworks. The crowd that had followed him from outside the venue confirmed the magnitude of the Puerto Rican musician’s impact. His great success transcends music and can be described as a sociological phenomenon. Far behind is the musician who performed for the first time in 2017 at a nightclub in Lleida, before releasing his first album. In just nine years, he has become a phenomenon that completely transcends the realm of reggaeton and urban music.
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The best proof is the first part of his current tour, the DeBÍ TiRAR MáS FOToS World Tour, in which he seems like a cross between a crooner and a capo, impeccably dressed to lead a large orchestra and imitate his salsa idols. And although as a singer he is somewhat far from the dimension of fellow countrymen who were legends, like Cheo Feliciano, Ismael Rivera, and not to mention the incomparable Héctor Lavoe, he convinces telling in Callaíta the story of a girl who speaks little but is daring, among crackling brass, leather, and tasty tumbao. Or when he laments the wickedness of another girl in Pitorro de coco, among the virtuosity of the Puerto Rican cuatro strings. Not to mention Weltita and its nod to La flaca by Jarabe de Palo or the bolero Turista, with trumpet and bongos. Although nothing compares to the bursts of satisfaction provided by his new hits Baile inolvidable and Nuevayol, both epitomes of his skill in effective choruses and narrative prowess, with messages and references, like the one to Willie Colón. At times they seemed like emulators of the Fania All-Stars. There was an excess of keyboard intro and some solos, overly extending the thing, although in the end it was pecata minuta.
The same happened when he moved to the second stage, the pink little house, where the most celebrated moment by his fans takes place, when he dedicates himself body and soul to reggaeton, surrounded by friends, acquaintances, and a few celebrities, fewer than the previous day, although influencer Ibai Llanos or actress Úrsula Corberó could be seen there and also, although not visible, Gerard Piqué and Riqui Puig were present. There, the Bad Bunny, already in tracksuit, shorts, and relaxed, stimulated the perreo amid the delirium of his followers who chanted all the rhymes and phrases, linking one song after another in a kind of mix that started at the lower part of the little house, chewing gum, drinking, and even lying on the floor. Among them, Tití me preguntó played, in which he collects loves in lyrics that are the opposite of “Yo perreo sola,” but what would he be without contradictions?
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He also didn’t hesitate to stop the music and spend good minutes with the fans, high-fiving, hugging, or signing an autograph on a sneaker. Later, at the climactic moments, he climbed onto the roof, and neither Bad Gyal nor the expected Rosalía were there. The only guest was his colleague and fellow countryman Bryant Myers with whom they performed three songs. The exclusive Triste, a song by the guest recorded together on his album “La oscuridad,” and then they brought back Seda — where they repeat “la tengo sometida a mis nueve inch, yeah, yeah” — before finishing the act with the old Pa ti, another reggaeton pill with very explicit verses: “Tell your ex not to get too smart / Or I’ll send him a ticket up there with Jesus Christ” and “I deleted all the bitches from my contacts / Baby you’re a devil and my dick made a pact with you.” While returning to the main stage, he left Los Pleneros de la Cresta in the little house to entertain, with voices and tambourines, with plena, a genuine folklore from the archipelago that recalls sugarcane workers.
In the final stretch, the dance troupe had great prominence, from the romanticism of Ojitos lindos, followed by La canción which he recorded with J Balvin, marked by a trumpet arrangement even jazzy. They continued with the melancholic reggaeton of Kloufrens to address heartbreak, before Yonaguni, where the unease of desire for a forbidden love appears. As an absolute contrast, the denunciation of El apagón, wrapped in an electronic arrangement that turned the stadium into a kind of rave, before the total communion that was Debí tirar más fotos, a rhythmic and at the same time melodic song, chanted at the top of lungs, which is the best way to understand why — making a comparison with the name of El Gran Combo de Puerto Rico, one of the best orchestras in the history of Latin music — Bad Bunny has become: The Great Phenomenon of Puerto Rico.
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