Bad Bunny’s “Nadie Sabe Lo Que Va a Pasar Mañana” album review

Rhea Noumair, Print Opinion editor and Illustrator • November 29, 2023

Bad Bunny’s last album, “Un Verano Sin Ti” was released in 2022 with 23 songs. With the album being named A summer without you, the only appropriate way to follow up was with an album called “Nadie Sabe Lo Que Va a Pasar Mañana,” Nobody knows what will happen tomorrow. The title shows how Bad Bunny is bouncing back from heartbreak. Functioning as a rap homecoming, the 22 song album is centered on Bad Bunny’s favorite topics: counting racks and his love of Puerto Rico.

Nadie Sabe Lo Que Va a Pasar Mañana

NADIE SABE

“NADIE SABE” (10/10)

The album opens up with orchestral strings in “NADIE SABE,” sampled from Italian-Egyptian singer Dalida's “Histoire D'un Amour” which help lift his voice as he comes in. The song feels like the first song in a soundtrack for a superhero movie which fits perfectly as it is the opener of the album. “NADIE SABE” is a six minute song and Bad Bunny doesn’t come in until 30 seconds in, making a perfect entrance as the orchestra fades into a trap piano before the orchestra jumps in again. This song does a really good job at illustrating the complexity of Bad Bunny’s musical composition. At around 2:15, Bad Bunny raps “Soy el caballo ganador,” I am the winning horse, which is accompanied by the sounds of horses galloping. To close out the song, a chorus joins in singing the album's title, “Nadie sabe lo que va a pasar mañana,” at around 5:25. The song, being six minutes, proved to be an entertaining opener to the album. The song has a perfect combination of rap following a melody and blended with classical strings making it worth a 10/10.

MONACO

“MONACO” (9/10)

As the second song off the album, “MONACO” follows closely with “NADIE SABE” with orchestral strings to open and to flow through the entire song. One main difference between the two is how prominent the trap beats are in “MONACO,” solidifying the song with the trap style we’ve come to love from Bad Bunny. Throughout the song, there are many comparisons thrown out. He compares himself to “campeones” such as Rocky Balboa and “Messi y Maradona.” Continuing on his composition, Bad Bunny samples a French song “Hier Encore” by Charles Aznavour, complimenting the French strings in the background. The song is most prominent in the middle and closes it out. Overall, with the sample, the word play and the traditional trap beats mixed in, this song was a 9/10.

FINA

“FINA” (7/10)

Similar to “MONACO,” “FINA” fits the description of traditional rap. Featured is Young Miko, a female rapper from Puerto Rico. The song feels like a straight rap session with Young Miko’s calm tone in the first verse merging well with Bad Bunny’s during the chorus. Bad Bunny takes control of the second half. The melody and the tone of the piano in the background gives “FINA” a more Pop sound that compliments both Young Miko’s and Bad Bunny’s rapping styles. “FINA” was also more of a bass-heavy song. Although the verses were well composed and well performed, the main lacking element in this song was the chorus. The words were repetitive and the chorus itself was only performed once. Overall, it was a solid 8/10.

HIBIKI

“HIBIKI” (9/10)

This song features Puerto Rican rapper Mora and is a change from the previous songs. “HIBIKI” is a dance tune, heavy on the bass and an emphasis on the vocals. For the first half of the song, Bad Bunny’s and Mora’s voice are the components providing the main melody. In the background, you can hear the synth playing a different melody. Despite seeming like an uncomplicated song, it took a couple of listens to figure out why it sounded so good. The way each part of the song mixed together made it such a vibrant bop, which is why it’s a 9/10.

MR. OCTOBER

“MR. OCTOBER” (9/10)

“MR OCTOBER” cycles back to trap with the hi hats being the most prominent instrument. Titled after baseball legend Reggie Jackson, nicknamed Mr. October, Bad Bunny establishes a theme of comparing himself to legends. The chorus, however simple, speaks volumes when he raps, “Yo cambié el juego,” I changed the game. From previous albums and solos, it’s become evident that Bad Bunny earned his bragging rights. Overall, “MR. OCTOBER” was a solid 9/10.

CYBERTRUCK

“CYBERTRUCK” (10/10)

Providing an electronic, “cyber” sound, “CYBERTRUCK” was a pleasant surprise. It mixed rap with dance and reggaeton. Many listeners were waiting for the Classic Bad Bunny reggaeton song to come on and “CYBERTRUCK” was the first song off of this album to deliver it. Bad Bunny’s switch from genre to genre and his vocals throughout the song was a positive change in the album itself. With more references being thrown out and the constant change between just the bass and the reggaeton beats, “CYBERTRUCK” was a 10/10.

VOU 787

“VOU 787” (7/10)

The song starts off with the classic trap beat, a prominent hi-hat and the bass hitting on the down beats. Being a two minute song, it has a structure of chorus, verse, chorus. The verse itself was great lyrically. That being said, the autotune on Bad Bunny’s voice was too much. While for many rappers heavy autotune is a stylistic choice, it can be the downfall of some songs which is the reason this song is a 7/10.

SEDA

“SEDA” (8/10)

“SEDA” was a slower song, featuring Puerto Rican rapper, Bryant Meyers. With a slow piano in the background contrasted by the trap 808 drum beat, both voices were lifted by the melody in the back. It was more of a pop/R&B song especially with the auto tune on the voices as well. It faded cleanly into the next song, “GRACIAS POR NADA” to the point it was hard to tell when “SEDA” ended and when the next song started. Overall, 8/10.

GRACIAS POR NADA

“GRACIAS POR NADA” (5/10)

“GRACIAS POR NADA” was a shocker; not the best song off the album at all. It was too repetitive with “Gracias por nada” being the chorus. There wasn’t much redeeming it other than the melody, making this song a 5/10.

TELEFONO NUEVE

“TELEFONO NUEVE” (10/10)

This was an almost six minute song featuring Latin rapper Luar La L. Both artists brought their best on to this song, and every lyric was packed and landed. Along with the wordplay, Bad Bunny and Luar La L were delivering back and forth. From starting off slow to transitioning into a rap heavy track, “TELÉFONO NUEVO” delivered a 10/10 record.

BABY NUEVA

“BABY NUEVA” (10/10)

Starting with a tenor voice from Bad Bunny and the bass drum hitting once every measure, “BABY NUEVA” quickly transitions into a dance rhythm when Bad Bunny lifts his voice and the bass hits every beat. It then swiftly transitions into a trap beat with Bad Bunny’s tone and voice style switching just as often to match the beat. This track itself is the best way to describe how versatile Bad Bunny is as an artist and therefore deserves a 10/10.

MERCEDES CAROTA

“MERCEDES CAROTA” (8/10)

Featuring Puerto Rican drill and trap artist YOVNGCHIMI, “MERCEDES CAROTA” was straight drill. It contrasts Bad Bunny’s deep voice with YOVNGCHIMI’s laid back tone. With sprinkled ad libs and the gun sound effects, the song was an 8/10.

LOS PITS

“LOS PITS” (10/10)

“LOS PITS” was a straight bop. The beats and his voice blended reggaeton and trap with party vibes and some introspection with lyrics like “Je, y está cabrón porque Mientras más alto tú está', más bajo te quiere ver caer la gente,” And it’s tough because The higher you rise, the more people want to see you fall. The swing on his voice while singing the chorus was always brought back with the bass occurring on the first, third and fourth beats of the measure. While Bad Bunny comments on enjoying the high life and the luxuries that come with it, he also talks about the struggles and criticism he has faced and his nonchalant attitude towards them. With what the song was about and the overall blend of Latin trap and reggaeton, this song was a 10/10.

VUELVE CANDY B

“VUELVE CANDY B” (10/10)

From the synth at the start, it was clear “VUELVE CANDY B” was going to be a trap song. It delivered a classic trap mix we expect from Bad Bunny. Overall a 10/10 for a classic.

BATICANO

“BATICANO” (9/10)

The synths in the background along with Bad Bunny’s deep voice made for the song to be a “villainous” one, seeming like it would be on a superhero soundtrack. Despite being in a minor key, “BATICANO” had uplifting lyrics celebrating nonconformity and disregarding societal pressures, which is what made it a 9/10.

NO ME QUIERO CASAR

“NO ME QUIERO CASAR” (10/10)

Starting with a Latin classical guitar riff, the song dives right into Bad Bunny’s swag. The hi-hats in the beat along with the synth give the song more of a Latin vibe we’ve been missing in this album. Everything pulled together in this song making it a 10/10.

WHERE SHE GOES

“WHERE SHE GOES” (8/10)

“WHERE SHE GOES” is a love song. Although it’s never mentioned who Bad Bunny is talking about, it’s clear he missed her when he raps “Aunque me tarde un poco, juro que vo'a responder/Quisiera volverte a ver” Even if I might take a little, I swear I will respond. I would like to see you again. The lyrics, the beat and the melody was a solid 8/10.

THUNDER Y LIGHTNING

“THUNDER Y LIGHTNING” (8/10)

Named after a Puerto Rican professional wrestling tag team named Thunder and Lightning, Eladio Carrión and Bad Bunny rap back to back on this trap. They rap about things that come in pairs such as Messi and hat tricks or Nas and Illmatic. With the delivery of both artists, the song is an 8/10.

PERRO NEGRO

“PERRO NEGRO” (10/10)

“PERRO NEGRO” (10/10) The reggaeton beat honestly carried this song. Out of this 22 song album, there haven’t been many songs with a Latin base. The other songs felt like something from mainstream hip-hop. Along with the feature from Feid, “PERRO NEGRO” was a 10/10.

ACHO PR

“ACHO PR” (6/10)

Despite the three features, Arcángel, Ñengo Flow and De La Ghetto, the song was a bit disappointing. Bad Bunny had the best verse to close out the song but De La Ghetto, Ñengo Flow and Arcángel’s deliveries were underwhelming. Overall, a 6/10.

UN PREVIEW

“UN PREVIEW” (10/10)

With more reggaeton beats, this song was a perfect way to close out the album.

Although, overall this album was 8.2/10, one major component missing was the Reggaeton and Latin sound Bad Bunny excels in. However, “Nadie Sabe Lo Que Va a Pasar Mañana” is a great album, it’s a new sound and it shows off just how good Bad Bunny is at composing.

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About the Contributor

Rhea Noumair, Online Editor-in-Chief and Illustrator

Senior Rhea Noumair is in her fourth year of Pitch as an Online Editor-in-Chief and Illustrator. Other than writing opinion articles, Rhea enjoys playing and watching soccer, playing on the Girls' Flag Football team, as well as listening to music and painting.