Several generations of Iglesiases couldn’t do as much. Balvin has peeled away layers of reggaeton’s usual misogyny for a sound as compassionate and vulnerable as it is passionate. Neither man is trying to do outdo the other here, though each man does his swarthy finest (Bunny’s sensualist lounge hound on “La Cancion,” Balvin’s sensitive emotionalist on “Que Pretend”) to impress his new bestie.
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