Jacob Brookman

Karol G's album channels the apparent end of her relationship with Feid into a genre-spanning exploration of romantic collapse, moving through reggaeton, EDM, alternative pop and cumbia. The review praises “Final Feliz” for its restrained emotional power and “Alguien Que Te Amaba” for its Selena-inspired Tejano and cumbia sound, while finding the Bruno Mars collaboration “Still” disappointingly bland. Although the album's inconsistency keeps it from becoming a great breakup record, its willingness to express heartbreak as furious, sensual, melancholy and euphoric makes it highly listenable.

Lido Pimienta’s Caribenya blends cumbia, dembow and Afro-Indigenous traditions with ambient electronics, dream-pop textures and shimmering electro. The review praises the album’s balance of emotional themes—including identity, belonging, heartbreak, family and cultural inheritance—with playful, futuristic production. By resisting contemporary pop trends and easy categorisation, Pimienta creates a distinctive and deeply personal record.

Gracie Abrams's third album, Daughter From Hell, features vivid, emotionally detailed songwriting and understated production from Aaron Dessner. Tracks such as “Look At My Life,” “Good Reason” and “Men Like You” demonstrate her melodic, lyrical and performance strengths, but the album's consistent melancholy and restrained sound cause many songs to blur together. The review concludes that Abrams's surrounding commercial infrastructure may be discouraging the creative risks needed to move her from accomplished pop star to generational talent.