This is Pitbull’s 29th Jukebox appearance and nice to see he’s still Pitbully.

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Alfred Soto: I’m too close to the Pitbull ethos. A man of Cuban descent born in Mississippi, I know guys like Pitbull. I’ll hang out with them on Thanksgiving and Noche Buena. Whether his PG-rated horndog persona works depends on your tolerance. Fifth Harmony’s vocals and the sturdiness of their melodies help. Helping Mr. 305 is his insistence on taking the piss out of himself — white rice and fried eggs is a standard Cuban comfort food, especially helpful if you failed to get any the night before.
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Edward Okulicz: So aware of his own ridiculousness and formula he is probably immune to parody or fresh takes by now, Pitbull instead bludgeons me to death with enthusiasm and Fifth Harmony going for it in Spanish, and I so do not mind.
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Will Adams: A series of crutches in service of a song: the clickability of 5H singing in Spanish, employing the same two quarter-note lead-in to a chorus as “Despacito,” plucking not one but two early ’00s R&B hits for nostalgia points in said chorus — “My Boo” in the melody, “Dilemma” in the vocal punctuation. It’s not quite as interesting as this pairing should have turned up.
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Katie Gill: The most interesting thing isn’t the song: it’s a bog standard Pitbull song. And the most interesting thing isn’t that Pitbull’s singing in Spanish: he’s done this before. The most interesting thing is that FIFTH HARMONY, an equally popular Top 40 group is singing in Spanish. Is Pitbull trying to ride that “Despacito” wave? Who knows. I just wish he rode it on a less play by numbers song.
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Stephen Eisermann: A nice little Latin-Pop track that is as bouncy as it is ridiculous. Pitbull isn’t known for much more than overplayed party anthems, but at least this version of his generic party anthem has some of his culture and a well-sung hook. Also, shout-out to Mr. Worldwide not assuming the main girl’s sexuality: that’s progress, people!
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Nortey Dowuona: Solid, stuffy drums, flat, estranged guitar and popping, thick bass contrasting badly with strange horn stabs and abandoned and buried synths.
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Leah Isobel: I like Fifth Harmony’s rendition of the chorus, and the horns buried in the mix add a nice texture, but the song is so lightweight it floats away – well-made and anonymous.
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