Bad Bunny, the Puerto Rican music icon, has cemented his status as a cultural force by using his Spanish-language lyrics to assert Latino identity and address political issues, recently underscored by his Grammy-winning album and headline Super Bowl performance. His songs, deeply rooted in Puerto Rican experiences, offer a lens into the island’s struggles and resilience, making his music a beacon for millions.
Benito Antonio Martínez Ocasio, known as Bad Bunny, deliberately sings almost exclusively in Spanish, a choice that defies industry norms and serves as a statement against the historical pressure on Latin artists to anglicize their work. By refusing to translate or soften his Puerto Rican essence, he embeds politics into every track, whether it’s about love, partying, or heartbreak. This stance gained visibility when he opted out of US concerts on his recent tour over fears of Immigration and Customs Enforcement (ICE) targeting fans, yet he accepted the Super Bowl halftime show, bringing Spanish-language music to America’s biggest TV stage.
To understand Bad Bunny’s lyrics, one must start with Puerto Rico as both backdrop and protagonist. His songs are saturated with local slang, such as “boquete” (pothole) used metaphorically, and rhythms like plena and salsa, celebrating the island’s heritage. Tracks like “LA MuDANZA” reference historical events like the 1948 Gag Law, which criminalized displaying the Puerto Rican flag, while “LO QUE LE PASÓ A HAWAII” critiques gentrification and resource privatization, issues resonating across Latin America. As Yale professor Albert Laguna notes, these lyrics reflect broader regional realities, making Bad Bunny’s music universally relatable.
His most political album, “Debí Tirar Más Fotos,” made history days ago by becoming the first fully Spanish-language album to win the Grammy for Album of the Year. Bad Bunny dedicated the award to those forced to leave their homelands, using his acceptance speech to denounce ICE raids with the phrase “ICE out.” This album, which he calls his “most Puerto Rican ever,” embraces native rhythms and centers on colonial history, quickly topping the Billboard 200 chart and solidifying his artistic boldness.
The upcoming Super Bowl LX halftime show, where Bad Bunny will perform solo as the first Latin male headliner, amplifies his cultural impact. Announced in September, the performance, set for February 8, 2026, at Levi’s Stadium in Santa Clara, California, is promoted with the promise “The world will dance.” It follows a 30-date residency in San Juan and comes amid criticism from conservatives, including former President Trump, who called the decision “absolutely ridiculous.” Bad Bunny has remained defiant, urging critics to learn Spanish during a “Saturday Night Live” monologue.
Beyond the stage, Bad Bunny’s lyrics explore themes of displacement and belonging, reflecting the Puerto Rican diaspora’s experiences. In songs like “Debí Tirar Más Fotos,” he nostalgically recalls San Juan sunsets, while lines about corruption pushing people to Orlando highlight the economic hardships driving migration. Yet, he champions staying and taking pride in roots as acts of resistance, singing “No one is getting me out of here” in “LA MuDANZA.”
The singer’s outspokenness extends to his Grammy speeches, where he emphasized humanity and American identity for immigrants, countering dehumanizing rhetoric. His collaboration with artists like Los Pleneros de La Cresta further grounds his work in community traditions, ensuring his message reaches diverse audiences. With the Super Bowl performance, Bad Bunny not only entertains but also advocates for Latino visibility at a politically charged time.
Looking ahead, Bad Bunny’s influence shows no signs of waning. As he prepares to dance the world on the Super Bowl stage, his music continues to educate and inspire, bridging cultural gaps and challenging stereotypes. His journey from Puerto Rican streets to global acclaim underscores the power of art in shaping discourse, promising more groundbreaking moments in entertainment and social commentary.
