Over the course of a decade, KAROL G went from standout reggaetonera to global pop megastar. It’s the sort of ascent that so rarely happens in Latin music, where acts tend to experience genre hitmaking as a ceiling rather than a springboard to even bigger musical success and fame. Yet as the Colombian artist’s fans now intimately know, no single style could possibly have contained her. Arriving a little over a year after the ambitious Tropicoqueta added even more depth and diversity to her discography, NO ME ARREPIENTO DE SENTIR TANTO finds KAROL evolving her self-described bichota brand to grapple with a breakup. But the reason why songs like “MATADORA” and “Bebiendo Lagrimas” succeed is that they primarily centre her instead of the unnamed him. Opener “Te llevas To” dismisses this undeserving lover in a barrage of insults and vulnerable admissions, while the sombre finale, “Eclipse”, finds her intentionally alone and protecting her peace. (The latter’s sentiments understandably echo on balladic bonus track “Después de ti”.) Such reluctance to open herself up to a potential new love becomes clearer on one of the album’s high-profile moments, as she trades hesitant remarks with Drake on the pulsating, Afrobeats-informed “Ahí”. The internalised tumult within transcends language, as demonstrated by the English-language Bruno Mars collab “Still”. While, unlike on Tropicoqueta, genre experimentation takes a backseat to personal expression here, KAROL ensures that NO ME ARREPIENTO DE SENTIR TANTO includes a few opportunities to create beyond the comfort zone provided by her exceedingly talented go-to producer Ovy On the Drums. “Alguien que te amaba” invokes tejano form the way Selena once did, while the dancehall derivations of “BbY WOW” with Judeline and rusowsky add a tropical thump to her wider narrative. Still, there’s perhaps nothing quite so gratifying amid all these big feelings as when she settles back into a reggaetón pocket for “Con quien andará”.