The Singles Jukebox

But not los [4]…

[Video]
[6.00]

Leonel Manzanares de la Rosa: Reggaeton’s official ambassador of reckless promiscuity via lite-misogyny is back with a cut that ticks all the boxes for cheeky-banger sass but feels forced. The effect quickly wears out, and Maluma does next to nothing to engage. And boy, that guitar-led first verse was promising. 
[4]

Stephen Eisermann: I’ve been cheated on twice. It fucking sucks. I know that sentiment goes without saying, but the context is important — if I hate cheaters, why do I love a song where Maluma is celebrating his and his partner’s infidelities? Because they’re both enjoying it. This song is unrealistic as hell, but I’m pretty sure if I was banging Maluma I’d be cool with him straying as long as I knew, like he does, that “sé que volverás (I know you’ll come back).” His confidence is sexy, and that alone sells this song. The simple, reggae-tinged Latin track and Maluma’s silky smooth voice are simply cherries on top of a cheeky — and somehow in his hands, believable — story.
[7]

Thomas Inskeep: Romantic reggaeton that only took two plays to get me into bed.
[7]

Crystal Leww: Maluma is going to rely on his extremely handsome face to get this album rolled out, huh? “Felices Los 4” is a serviceable reggaeton track, but it’s too one-track to get Maluma the kind of massive crossover hit that he’s likely looking for.
[5]

Alfred Soto: The track boasts a Continental sophistication absent in American pop songs and even Latin ones: the character accepts his and his girlfriend’s lovers as part of the arrangement. That Maluma makes this story clear with the unsurprising arrangement impresses me, even when the singer gets crass — did we need those “Maluma, baby”s and those blown kisses?
[6]

Micha Cavaseno: If you’re going to make me hear “dem bow” for the five millionth time in my life, I do not mind that it first had to sneak in under the guise of a smooth trad arrangement. “Felices Los 4” is smooth and unassailable, but the best part is how easy it slides in and out of tradition and modernity to feel like there’s nothing separating the styles at hand.
[7]