The Singles Jukebox

That feeling when you learn that the Power Rangers reboot is going to be dark and gritty…

[Video][Website]
[6.00]

Thomas Inskeep: I like the lightly skanking rhythm of this, and Becky G’s light touch with her vocals. Also, she was really good in Power Rangers, in case you were wondering.
[6]

Katie Gill: Becky G has a feature film out. She’s Trini, the yellow Power Ranger in the new Power Rangers film. You’d expect somebody to hop on that and do some cross promotion — maybe get Becky G to sing the song in the credits or make this song have a Power Rangers themed video. Needless to say, I wasn’t expecting a slightly generic Latin pop number to be the song released. That spoken word bit is embarrassing as all heck, but aside from that, this is decent background noise, perfect for playing in the soundtrack of stores or lingering on when you’re in the car and there’s nothing else to listen to. It’s not bad, it’s just all right.
[5]

Alfred Soto: Everything changed when Becky imitated Britney imitating Ariana Grande. I gripped the guitar at 2:50 for dear life.
[5]

Rachel Bowles: There’s nothing Becky G does better than the ecstasy of falling in love to some highly danceable pop. The spoken word Spanish over latinesque EDM beats and baseline is particularly refreshing and hipnotising (Sorry!).
[8]

David Sheffieck: Becky G had the (mis)fortune of breaking through with “Shower”, one of those songs so perfect you could spend a career trying to equal it. Her immediate followup was an enjoyable-if-forgettable copy, but the next two found Dr. Luke flailing to find something else that could hit. A pivot to Spanish-language songs could seem desperate, if it didn’t result in the best work Gomez has managed since her first hit. Here, she’s stronger singing than when rapping (but solid enough at the latter) and charismatic enough to hold her own against a beat she’s often mixed too low against. This might be an unexpected rebirth, but it’d be a deserved one.
[7]

Will Adams: After the evident growing pains of her career — bouncing around from pop-rap to full singing pop to Latin pop — it’s nice to hear Becky G coming into her own. Her Spanish language singles have been consistent, energized takes on reggaeton, and “Todo Cambio” follows suit. The bass zooms wildly in spots, the clattering strings in the chorus manage to avoid crowding the track, and Becky even gets a chance to flaunt her rap skills. Still being with Kemosabe in the midst of all its extra-musical baggage must be a drag, but Becky G seems to be making the most of it.
[7]

Katherine St Asaph: Though Becky G has released Latin singles for a while, she likely went full time for two reasons, though it’s impossible to say how much of each: musical affinity, but also the fact that Dr. Luke has virtually zero presence on pop radio anymore. It’s equally hard to say how much of that is due to the obvious reason and how much is simply Luke having misjudged how early to go solo, but the fact remains and looms. Latin pop is a lucrative, standalone market, but it’s hard not to see Luke’s engagement with it as cynical scrambling, as with urban radio in 2015, for any place that’ll take him. If all of this sounds unfair to Becky G, that’s because it is — she’s not the only derailed Kemosabe artist, but no amount of vibrancy or curls in her voice would keep “Todo Cambio” and such from being hard to listen to.
[5]

Juana Giaimo: Of the three reggaeton singles Becky G has released, this may be the weakest for being the most generic. She keeps the strong attitude of “Sola” and “Mangú” by rapping the verses with a certain mysterious attitude — but at the same time, she aims to be romantic but is rather corny.
[5]