Fun facts about Bogotá: it has 213km of bike routes.

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[5.86]

Anthony Easton: I listened to Johnny Cash singing “Cocaine Blues” just after this, and it’s not the same same; there is something more jagged, harder, and even more broken about “Bogotá.” It’s not exactly gunplay –you know you want it to be a line as straight as powder on the mirror, but the crystalline fracturing prevents from  any context — the gleam of pleasure over context means something. 
[6]

Iain Mew: The grinding production and Gunplay’s equally tight and hard delivery combine with a concentrated and single-mindedness focus that makes “Bogotá.” It only has the one trick, but it does it very well. I would prefer a version without the misogyny, but it’s difficult to attribute harm to something that is essentially a cocaine-themed version of “Blue (Da Ba Dee)” and almost as garishly cartoony.
[7]

Brad Shoup: “Go” was a hell of a single, a pop triumphal laced in neon. On it, Gunplay came off quite well, a little giddy, a little nuts. “Bogotá” shows his approach honed and tied to boss Ross’. But hey, Rozay’s usually on point, and Gunplay’s rhyming at a higher level than the John Carpenter synthbells and chorus call for. His closing verse is a bit Bun B, but he doubles down on the beat-trailing until the very act of rapping comes off like a chore. And that’s cool.
[7]

Alfred Soto: The title gives this fool a chance to demonstrate his nimble tongue and spelling powers. He rhymes “cocaine” and “Spokane.” He treats a bitch like a stray. Should he ever visit Colombia he may not need a bodyguard.
[5]

Edward Okulicz: I’m in two minds about this; Gunplay’s words are quite clever, and his flow is nimble and technically good if lacking in distinct personality. It makes a quite jaunty backing sound quite eery and tough, too, which is why the slappy drum programming, which sounds like someone artlessly tapping keys on “Hip Hop Sample Kit” on their old synth keyboard is a bit of a disappointment. The wit gets it over the line, though, and the long streams of repeated rhymes are delicious.
[6]

Jonathan Bogart: Oh I see, you’ve made a lot of money selling Colombian cocaine. What a fascinating life story.
[3]

Jonathan Bradley: The “Maybach Music” tag is a red herring; Gunplay steers himself away from Ross’s flaccid fantasies into the gap between Ace Hood’s drained nihilism and Waka Flocka Flame’s unbridled anarchy. “Bogotá” doesn’t grasp all the opportunity inherent in such a combination, but Gunplay does properly chew over the tactile, plosive properties of the titular word, doing rhythmically on the hook what syntax will not. A duller rapper might be inclined to achieve the same end by reference to Bugattis.
[7]