Wednesday, January 23rd, 2019

Ozuna – Baila Baila Baila

We liked the part about dancing…


Crystal Leww: Ozuna’s made such an impact on urban Latin music that it’s incredible to remember that the guy’s really only been around since 2016. And while many of his hits have been collaborations with other huge names in the scene, “Baila Baila Baila” is a reminder that Ozuna is a main attraction. The man who has made countless dancefloor bangers makes a song very explicitly focused on dancing. He stays in his lane, and the result is a a bouncing and fun reggaeton/afrobeats track. 

Alfred Soto: Except for the piano interludes, “Baila Baila Baila” is perfunctory pop by someone who’s done better. 

Stephen Eisermann: This song is far too similar to “One Dance” to not address, but Ozuna sells it with charisma and a theme that feels fitting. The song finds a woman trying to dance away her memories of a prior relationship, and Ozuna’s warm vocals and phrasing make quick work of any hesitancy the all-too-familiar melody provides.

Joshua Minsoo Kim: The thing about “One Dance” was that it wavered between somnolent bore and nocturnal dancefloor hit. You could pin that entirely on Drake’s voice, so it’s no surprise that Ozuna’s higher-pitched vocals turn this into something more vibrant but less steamy.

Thomas Inskeep: Ozuna seems to my ears like a Puerto Rican version of the Weeknd: sweet-voiced, occasionally with something sinister under the surface. Something about the lyric “tengo que besarte anté que se acabe” comes off almost a little creepy. Apart from that, the song is just a bit too simple in its construction; it’s pleasant, and if you think I’m damning with faint praise, you’re right.

Juana Giaimo: For a song called “dance x3”, this lacks energy. Ozuna tries hard to fill the song, but the stripped-down beat and straightforward piano chords sound in need of something else. 

Ryo Miyauchi: There is a more intriguing alternate song hidden here, where Ozuna continues to narrate “Baila Baila Baila” from the third person as he does in the opening verses. He can’t help but involve himself in this “finding love in this club” story, but his voice still gleams with wholesome awe, captivated by watching the woman dance so freely.

Ashley John: Sweet and boyish as a middle-school love letter, but with double the smoothness. Ozuna makes me feel giddy and light and like the only one dancing. 

Anna Suiter: Sometimes when a song tells me to dance, I get a little spiteful. But if a song insists on it enough, I might end up dancing in my chair a bit despite myself. And Ozuna didn’t even need to insist so much, because the beat does all of the work.

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