Debí Tirar Más Fotos

Bad Bunny released Debí Tirar Más Fotos on January 5, 2025, through Rimas Entertainment, as his sixth solo studio album. Its title translates as “I Should Have Taken More Photos,” and the record frames nostalgia as both a personal regret and a concern for Puerto Rico’s changing identity. Across 17 tracks, Benito Antonio Martínez Ocasio turns away from the mostly trap-centered palette associated with parts of his earlier catalog and foregrounds Puerto Rican musical traditions, including plena, salsa, jíbaro music, bomba, and folk-rooted arrangements.

The album’s sound was shaped with frequent collaborator Tainy, alongside producers such as La Paciencia, MAG, and Big Jay. Its guest list is deliberately Puerto Rican: RaiNao appears on “PERFuMITO NUEVO,” Chuwi joins “WELTiTA,” Omar Courtz and Dei V feature on “VELDÁ,” and Los Pleneros de la Cresta contribute to “CAFé CON RON.” Those choices connect the album’s contemporary urbano framework to musicians working in styles with deep local histories.

Several songs directly evoke Puerto Rican places, language, and social pressures. “LO QUE LE PASÓ A HAWAii” uses Hawaii as a comparison point while addressing fears about displacement and the sale of land. “TURiSTA” examines the tension between visitors’ idealized image of the island and residents’ lived reality. “BAILE INoLVIDABLE,” built around salsa, pairs romantic loss with an expansive dance-band arrangement. “DTMF,” the title track, centers on memories, photographs, family, and the wish to have preserved moments more carefully.

Bad Bunny introduced the project after releasing “EL CLúB” in December 2024 and “PIToRRO DE COCO” later that month. On the album’s release date, he also issued a short film starring veteran Puerto Rican actor Jacobo Morales. In it, Morales portrays an elderly man reflecting on the island and his memories, while Bad Bunny appears alongside him. The film includes Concho, a Puerto Rican crested toad character that became part of the album’s visual world.

Debí Tirar Más Fotos debuted at number two on the Billboard 200, making it another major U.S. chart success for Bad Bunny. It also reached number one on Billboard’s Top Latin Albums chart. Rather than presenting Puerto Rican references as decorative details, the album makes them central: its instruments, collaborators, colloquialisms, visual imagery, and anxieties about migration, tourism, and cultural preservation all place Puerto Rico at the center of the record.