J Balvin’s Energía is a record built to move bodies. Fifteen tracks, 48 minutes, and a stated goal: mix acoustic ballads, pop dancehall, and rap-singing into one milestone for genre-hopping in Latin music. That is the pitch. The question is whether the record delivers on it.
Opening With Venom
The album starts with “Veneno,” a track that sets the tone with a tight, controlled production. It is one of the few moments here where Balvin sounds fully engaged with the material. The song moves fast, stays focused, and earns its place as the strongest opening statement on the record.
“Malvada” follows at 2:59, a shorter cut that leans into a darker, more seductive mood. It is competent, but it does not add much new to the mix.
“Safari” runs 3:26 and picks the pace back up. This is one of the tracks critics singled out, and it is easy to hear why — the production is loose and playful, and Balvin sounds comfortable in the groove. It is the kind of track that could work as a single on its own.
“Bobo” comes next at 3:29. It is a solid cut, but it does not do much to push the album forward. The track is pleasant enough, though it feels like filler rather than a statement.
The Middle Stretch
“Sigo extrañándote” runs 3:21 and shifts toward a more acoustic sound. It is a ballad, and it shows a side of Balvin that is less about energy and more about feeling. The track works in context, even if it is not the best version of itself.
“Primera cita” follows at 2:54 and keeps the acoustic lean going. It is a brief, light-hearted cut that does not demand much attention. It is pleasant, but it is also forgettable.
“Pierde los modales” brings the tempo back up at 3:21. It is a danceable track with a strong hook, and it is one of the better songs on the album. The title suggests a sense of freedom, and the track delivers on that promise.
“Por un día” runs 3:32 and slows things down again. It is a pop-dancehall hybrid, and it works well within the record’s shifting identity. The track is steady rather than exciting, but it holds the album together.
“No hay título” is a short, 2:44 instrumental interlude. It does not feature vocals, and it functions as a breather rather than a statement. It is fine, but it is not essential.
Closing In
“Acércate” runs 3:13 and picks the pace back up. It is a dance track with a strong beat, and it is one of the tracks critics singled out. The song has a sense of urgency that cuts through the surrounding material.
“Snapchat” follows at 3:40 and leans into a more modern, tech-savvy sound. It is a solid track, but it does not stand out as much as the songs around it. It is competent, though it is also a little thin.
“Hola” runs 3:16 and slows things down again. It is a ballad with a gentle, warm feel, and it is one of the more emotional tracks on the record. It is a good change of pace, though it does not hit the same heights as the album’s best moments.
“Ginza” is 2:51 and is one of the tracks critics singled out. It is a dance track with a strong hook, and it is the kind of song that sticks in the ear. The production is sharp, and Balvin sounds locked in.
“Solitario” runs 3:28 and closes the album with a slow, melancholic feel. It is a solid track, though it does not quite match the energy of the earlier songs. It is a fitting closer, even if it is not the most exciting one.
“35 pa las 12” is the final track at 4:07, and it is the longest song on the record. It is also one of the tracks critics singled out, and it is easy to see why — the production is strong, and Balvin sounds fully committed. It is a strong closer, and it leaves the album on a high note.
What Works
The tracks that stand out across the album are:
- “Veneno” — the strongest opening statement
- “Safari” — playful and confident
- “Pierde los modales” — a strong hook
- “Acércate” — urgent and danceable
- “Ginza” — sharp production
- “Solitario” — a fitting closer
- “35 pa las 12” — the album’s strongest moment
These seven tracks carry the weight of the record. They are the reason the album gets a 2.0/10 instead of a lower score.
What Falls Short
The middle stretch of the album is where it loses focus. Tracks like “Bobo,” “Primera cita,” and “No hay título” do not add much new to the mix. They are pleasant, but they are also forgettable. The album needs more of the energy found in the opening and closing stretches.
The production across the record is strong. The beats are tight, the hooks are memorable, and the overall sound is polished. But polished does not mean exciting, and Energía spends too much time coasting on autopilot.
Final Word
Energía is a record that knows what it wants to do. It wants to mix acoustic ballads, pop dancehall, and rap-singing into one milestone for genre-hopping in Latin music. It mostly succeeds, though the middle stretch drags the whole thing down.
The best moments — “Veneno,” “Safari,” “Pierde los modales,” “Acércate,” “Ginza,” “Solitario,” and “35 pa las 12” — are excellent. The rest is competent filler. The album is uneven, but its highs are high enough to justify the listen.
| Track | Length |
|---|---|
| Veneno | 2:30 |
| Malvada | 2:59 |
| Safari | 3:26 |
| Bobo | 3:29 |
| Sigo extrañándote | 3:21 |
| Primera cita | 2:54 |
| Pierde los modales | 3:21 |
| Por un día | 3:32 |
| No hay título | 2:44 |
| Acércate | 3:13 |
| Snapchat | 3:40 |
| Hola | 3:16 |
| Ginza | 2:51 |
| Solitario | 3:28 |
| 35 pa las 12 | 4:07 |
The album is a mixed bag. The highs are excellent, the lows are forgettable, and the middle is a slog. It is a good record with a great skeleton and a weak flesh. It is worth hearing for the singles, and worth skipping past the filler.
- Veneno2:30
- Malvada2:59
- Safari3:26
- Bobo3:29
- Sigo extrañándote3:21
- Primera cita2:54
- Pierde los modales3:21
- Por un día3:32
- No hay título2:44
- Acércate3:13
- Snapchat3:40
- Hola3:16
- Ginza2:51
- Solitario3:28
- 35 pa las 124:07
