The Singles Jukebox

First time solo with us in almost two years…

[Video]
[6.50]

Crystal Leww: I have never been more pleased to be wrong about an artist as I was about J Balvin. It took a Beyoncé remix to fully convince me, but alas, I’m here and I’m really into this. “Ahora” was made for the point in the night to lock eyes with the only person in the club that matters and then to curl your arms around their neck. J Balvin is either hot or just extremely good at music — I can’t really tell anymore, which I guess is the true test for me.
[7]

Ryo Miyauchi: J Balvin and Sky remain an inseparable team as they continue to craft their own reggaeton world in “Ahora” where it’s dimly lit, sort of lonely and moved by desperation. Sky slightly beefs up his glassy sound and Balvin flexes his ego more, though the two overall stick to their winning formula.
[6]

Stephen Eisermann: J Balvin often sings songs about sex, but I don’t think any song has ever been as sexy as this one. Balvin plays it cool while singing about a game that feels very cat-and-mouse, where the woman seems entirely in control. It’s refreshing to see the tables turned especially when sung with as much natural swagger as Balvin sings this track, accompanied by a smooth, R&B-tinged reggaeton beat.
[7]

Nortey Dowuona: Nice, slow drums. Unfortunately, they also make the flat, pulpy bass and distant synths echo a little less. Also, J Balvin sounds bored.
[5]

Will Rivitz: I can’t put my finger on exactly what it is, but something about the sonic balance of “Ahora” — the kicks weighted more heavily in the mix than the snares, the staccato on-beat pan flutes further removing emphasis from the off-beat — makes it feel a little too regular and metered to succeed as a swaying, syncopated reggaeton song. Friends don’t let friends clap on one and three.
[5]

Juana Giaimo: After the massive success of “Mi Gente”, J. Balvin goes back to the sound of Energía. “Ahora” features a quiet and sensual reggaeton beat and deep vocals that don’t risk much but can speed up the melody with almost rapped verses. The chorus has a meticulous construction: the first part has a stable rhyme (“horas,”, “solas,” “ahora,” “demoras”) that makes it very memorable, while the second part alters the melody and rhyme so as to not make it repetitive. Unlike “Mi Gente,” which relies on a noisy drop and a hammering beat, “Ahora” shows that for dancing, subtlety wins. 
[9]