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No one should be surprised to learn that Madonna did her first single in four years on the Latin pop wave. From "La Isla Bonita" to EvitaMadonna's occasional flirtation with Latin America over the years has resulted in some highlights of her career. This, combined with the fact that Madge has practically invented the now popular pop-star vampire movement: everything that is young and popular from one album to another, leads us to Medellín, Colombia. Reggaeton singer Maluma leads the way, wearing the sensual tinged dembow song with his murmured Spanish responses to the strangely motionless worms of his duet partner. On a piece that begins with Madonna, who has a cha-cha-chá as in a video of ASMR, Maluma stands out, by the real song, while the heart and the soul really sells this feverish dream of the young love. The choir turns into a happy party because of him.
"Medellín" may be a more important moment for Maluma than Madonna, but as far as the semi-recent exploits of the hunt for cool pop icon, the song is closer to the top than to the base. It is more constrained than its EDM phase, leaving room for the production of tactile details that generally work (although and Auto-Tune on his voice is a bit much). In her last career, Madonna sometimes struggled to find a balance between campers and more mature ballads. "Medellín" is a kind of sexy and elegant way of understanding. Of course, she could not miss a song of this decade without at least a moment of grinding. "We built a cartel just out of love," she says, turning the violent city's history of violent drug dealing into lyrical myopia.
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