The third Wisin y Yandel #1 in a row without the distinctive reggaetón riddim, although the hip-house beat keeps the same staggered rhythm: the market seemed to be pushing away from puro reggaetón in the usual way that Black music gets coopted and watered down by white practitioners. Still, "Abusadora" was produced by Tainy with W&Y's usual collaborator Víctor El Nasi, so it's not like they were trying to abandon the formula that gave them their success by working with pop producers; if anything, they were demonstrating that reggaetón was a bigger tent than a blinkered focus on the riddim would suggest.
"Abusadora" is, like so many of Wisin y Yandel's songs, a worshipfully horny celebration of a sexually assertive woman at the club. The title literally translates to "abusive woman," but what or who she's abusing is never clear: maybe it's the singers (although Yandel repeats "Bendita sea la hora en que te encontré" -- blessed be the hour in which I met you), maybe it's substances, maybe it's simply her own pretty privilege. But if they're suffering, they don't complain: Wisin brags about his ability to keep up with her, and Yandel croons in silvered fragements of AutoTune about how little control he has over himself.
The sawtoothed synths and AutoTune are more than anything else a time capsule: this is post-subprime mortgage pop, big and splashy and dance-friendly, the cheap blare of foreclosed futures. The long, embittering crisis of the 2010s will temper the noise and energy on display here, but for the next couple of years at least, we'll keep on partying like it's the end of the world.
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