Quevedo’s ‘El Baifo’: Urban Music Expert Ana Rojas Says Bad Bunny Didn’t Invent Folklore, But Inspired the Movement

Quevedo has released his third studio album, ‘El Baifo’, a deeply personal project that serves as a tribute to his Canary Islands roots. The album, released independently on April 25, 2026, marks a return to Gran Canaria following a creative retreat in Ibiza and represents what the artist describes as his most identitary work to date.

Speaking with Billboard Español, Quevedo explained that the album’s title carries dual significance: “Baifo” refers to a baby goat in the Guanche language, a term deeply embedded in daily life across the Canary Islands, while also playing on the concept of “GOAT” — greatest of all time. This wordplay reflects both his cultural connection and artistic ambition.

The 14-track record weaves together reggaetón, afrobeat, bossa nova, and salsa rhythms with traditional Canarian elements such as the timple and majorera conchas. Quevedo emphasized that the album is not merely a regional reference but a constant presence throughout, stating: “I believe the Canary Islands are a key point, and that anyone who understands where I come from also understands my career’s processes and stages much better.”

Featured collaborators on the album include Elvis Crespo, Tonny Tun Tun, Nueva Línea, Los Gofiones, and longtime associates La Pantera, Lucho RK, and Juseph. These artists contributed not only musically but also shared their personal connections to the islands, reinforcing the project’s communal and cultural focus.

Tracks such as “Al Golpito” featuring Nueva Línea capture celebratory moments tied to local festivals and family gatherings, while “Mi Balcón” offers an introspective pause, drawing inspiration from the unique architecture of Canarian balconies and the quiet reflection they inspire. Quevedo described the album as navigating an emotional range from festivity to deeply personal moments.

In interviews, Quevedo has been candid about the external pressures surrounding the release. When asked about comparisons to Bad Bunny’s ‘Debí Tirar Más Fotos’ — an album widely praised for centering Puerto Rican culture — Quevedo dismissed the need to conform to expectations. Speaking to Europa Press, he stated: “A mí me da igual lo que me exijan. Me han exigido un montón de cosas, en verdad. La gente ha pedido de mí todo. Y le ha molestado todo lo que he hecho a otra gente. No me raya ni un pelo, no me va a cambiar los planes de nada.”

This sentiment was echoed by urban music expert Ana Rojas in her analysis for LOS40, who acknowledged Bad Bunny’s influence while cautioning against overattribution: “A Bad Bunny tenemos que agradecerle mucho, pero no ha inventado el folklore.” Rojas framed the trend of artists returning to their roots as a response to industry homogenization, where globalization has both accelerated cultural exchange and diluted regional identities.

For Quevedo, ‘El Baifo’ represents more than musical expression — This proves an act of cultural reclamation. As he told Canarias7: “‘El Baifo’ es volver a casa para contar quién soy de verdad.” The album stands as a declaration of authenticity, rooted in the landscapes, sounds, and traditions of Gran Canaria, offered not as a trend but as a truth.