Rating – 3 3/4 stars out of 5
I always want to stretch my limits when I am reviewing. I want to put myself in the chair so to speak and listen, watch or play all sorts of different pieces of media. Heck, if I thought I could appropriately write a vacuum cleaner review, I probably would (If I say it sucked, does that mean it’s a positive review?). Point is that nothing is off the table even if it is in a different language. I review foreign films all the time, I will be reviewing Monster, a Japanese movie in the near future. But what if I was to say that one of my favorite musical artists is the amazing Shakira? Well, I’m probably like a lot of red blooded guys then, but in this case I am doubling down on the situation and reviewing her latest album, Las Mujeres Ya No Lloran which is entirely in Spanish. No subs, no filters, just my ears and my half Mexican wife staring at me wide-eyed in the car. It’s a good time, let’s go.
Las Mujeres Ya No Lloran translated means Women No Longer Cry and is the twelfth studio album for Shakira. It’s her first in seven years, the last release being El Dorado which is one of the few Shakira albums not in my collection (I will probably remedy that soon enough). Since 2017, she has hosted the Super Bowl halftime show with Jennifer Lopez. Shakira also sold her catalog of music to Hipgnosis Songs Fund and then broke up with Gerard Pique in 2022 after 11 years together which included two children. We also had the tax controversy which resulted in a nearly eight million dollar settlement out of her pocket. Thankfully, they did settle as a prison sentence was actually discussed at one point which would have been ridiculous to say the least.
Anyway, what’s interesting about this album is that it is actually a collection of songs, mostly collaborative that started releasing as early as 2022. Many might not realize it, but these songs are probably already in your head and have been all over the radio or other mediums. In fact, as we get to the first track, Punteria, it is actually the eighth single released from this album.
Track 1: Punteria (3:10) – Wow, what a first track. Shakira’s unmistakable voice comes in wonderfully here and the beat is instantly catchy. Can I also say, major props to Cardi B for actually recording a version entirely in Spanish and sounding fantastic while we are at it? I’m blown away. I love this song, and it’s easily my favorite of the entire album. The only misstep here is that they did not include the Cardi B “English” version in the CD release. It is available digitally and chances are if you hear the song away from this cd, that’s the version you will hear. They did have the space and could have easily included it as #17 but I think I actually prefer the full Spanish version more. If Shakira ever wants to do another song with Cardi B, I’m all for it after this one.
Track 2: La Fuerte (2:45) – This starts a little slower but it is a building track as it starts hitting around the chorus. It is also the first of her songs with Bizzarap who we will see a little later in the album. I can do without the mock bird sound that appears several times however. The song almost has a militant beat by the time the chorus shows up and it’s not a half bad track. If you listen hard enough, you can hear elements of the Daft Punk song Harder, Better, Faster, Stronger. But ultimately it is a bit over-produced and should follow the mantra, less is more.
Track 3: Tiempo Sin Verte (3:16) – Shakira breaks into her acoustic guitar and delivers a powerful intro before giving away to more pop sounds (the guitar keeps resonating in the background). More importantly, the song has passion that pushes forth the overall message of the song (Having not seen someone in a long time and missing them greatly). Because of that passion, it’s one of the best songs on the album.
Track 4: Cohete (2:53) – This is the first song with Rauw Alejandro and it is the first track I’ll describe as music where Shakira appears as a guest artist. What that means unfortunately, it does not feel like a Shakira song (even if she helped to write it) and it never hits for me. It charted but it mostly feels flat in its electro-too nice pop presentation. Near the end, they even go as far as to do the synthesizer voice effect as we patiently wait for the next song.
Track 5: (Entre Parentesis) (2:49) – This fits into the more traditional Spanish music genre with the band Grupo Frontera and speaks to a love that is no longer sustainable and can’t go on (so they put the ending in parenthesis). Shakira’s trademark voice is back at least for this track. It is a nice song which is a both a compliment and not so much of one. We even get a She Wolf type “Ayoooo” as this one closes.
Track 6: Como Donde Y Cuando (2:59) – This is a different type of song for Shakira, at least from my experience. It has a little crackle, a little guitar and builds well into the chorus. I am trying to figure out the influences and I dare say it feels like a Greenday or Offspring song. No, I’m one hundred percent serious. Listen to that chorus again, specifically that guitar. I am completely digging it and I am all here for a Shakira college rock song that is full of fun and vigor.
Track 7: Nassau (2:36) – Back to something slower, it has a fairly decent beat and Shakira’s voice is beautiful as always. But there is nothing truly unique about it either. Mostly a filler song I hate to say but some might like it.
Track 8: Ultima (2:59) – Shakira does cover a wide range of styles. This one can be described as a piano ballad. It reflects her breakup from Gerard Pique and you can almost hear the tearful emotion in the song as it reflects the final or last (Ultima) time she will ever speak of him in regards to her music. It reminds me of the stuff Ryan Star used to do and is hypotonic in its verses. Extremely powerful song and it deserved to be included in this album.
Track 9: Te Felicito (2:53) – Rauw Alejandro is back for this one, and this works a lot better in my opinion. It’s wonderful catchy, and despite this one being electro pop like Cohete, it is much more a “Shakira” song and not a guest collaboration. This is also the first track since Punteria that feels “danceable” in its composition. It charted #1 in a bunch of countries (did very well in the US here too) and was even nominated for the Latin Pop Song of the Year at the Billboard Latin Music Awards. Fantastic song and has so much replay value.
Track 10: Monotonia (2:42) – This is recorded with Puerto Rican singer Ozuna and is actually considered Bachata. For those who do not know what that style of music is, Bachata is actually Dominican but includes Spanish as well as African and Taino elements speaking to the people of that country. It’s very different, especially for us American folks. Charting in 2022, it won Best Collaboration – Tropical at the Latin American Music Awards. But unfortunately the collaborative songs must continue in this album.
Track 11: Bzrp Music Sessions, Vol. 53 (3:37) – This diss track song with Bizarrap will probably be the most recognizable one on the album as it was plastered everywhere in 2023 getting on just about every best of list in the land. Shakira herself cited influence from Depeche Mode (certainly more recent songs). I remember listening to this song and being disappointed that I couldn’t grab it on a cd or something physical. (Sorry I am such a fossil) Thankfully this has changed. My only knock on it is that it should be more balls to the wall and border on house music. My prayers were answered once I heard the Tiesto Remix down below.
Track 12: TQG (3:19) – Karol G, famous reggaeton singer joins us on this track. It can be best described as another track against Shakira’s former partner but also takes shots at Karol G’s former boyfriend, Anuel AA. TQG stands for Te Quedo Grande or “I’m Too Good for You.” The beat is fun as it pokes fun at their exes. Another song that hit a bunch of best of lists in 2023. My favorite remixer, Liam Pfiefer does a wonderful mix of this song. (Incidentally, Liam released a remix of Punteria a mere couple of weeks ago which uses the Cardi B “English” version).
Track 13: Acrostico (2:52) – A very somber song that Shakira recorded with her two boys, Sasha and Milan. It speaks to the divorce between her and Pique and being rather apologetic to her sons about it. A love letter that shows hope and the emotion she has for the two people that she values most in the world. Very beautiful and moving(it really gets better with each play). However, this should have been placed as the last track on the album. It fits as an outro instead of thrown at number thirteen of all things. Either of the next two songs should have had that honor.
Track 14: Copa Vacia (2:55) – Another collaborative effort, this time with Manuel Turizo. Unfortunately, after the last three songs, this one is rather plain and is only elevated because of Shakira’s vocal presence. It charted in a bunch of different countries too, but honestly I am not feeling this one at all.
Track 15: El Jefe (2:51) – Back to the acoustic guitar intro and more along the lines of traditional Spanish music again (a Spanish polka if you will), this one is with Fuerza Regida. Even English speakers know that Jefe means “Boss” and it was trotted out by politicians as a protest song for labor rights. We probably should go ahead and move on to the last song.
Track 16: Bzrp Music Sessions, Vol. 53 (Tiesto Remix) (3:38) – Now this is exactly what I was talking about a few songs ago. Guns to the sky, house and with a knockout punch remix of this fantastic song. Successful remixes are those done with songs that have a little meat on the bone leaving people like Tiesto something to interpret and work with to make their own. Completely successful and a clinic of how to make a dance song of a tune that’s already a #1 hit.
This album is mostly a success with amazing collaborative songs like Punteria, Te Felicito, TQG, and Bzrp Music Sessions Vol 53. There are also some wonderful solo songs by Shakira including Ultima, Tiempo Sin Verte and Como Donde Y Cuando. The problem is if you toss out the remix track, that leaves you with about quite a few songs that hang there, not standing out nor stirring serious emotions. Songs that were surely important for Shakira and for the artists she worked with but tunes that won’t be remembered past this release. While I certainly recommend this album even to those of us who might only be familiar with her title release or something like Laundry Service; its a collection of songs or a greatest hits 2022-2024. It is not a cohesive record and therefore suffers by its nature. Enjoy.
