This richness stands in contrast to the approach of the Colombian reggaeton superstar J Balvin, who just released his sixth album, the affable but slightly numbing “Colores.” Balvin was a key player in the Colombian reanimation of reggaeton in the late 2000s and early 2010s, and has become perhaps the genre’s most visible star thanks to his wide-ranging collaborations (with Beyoncé and Cardi B, among others). His mechanisms are straightforward and legible — if Bad Bunny has been the tastemaker ambassador, Balvin has been the glossy centrist. Both were guests during the Super Bowl halftime show in February, a sign of their increased visibility on bigger and bigger stages.

“Colores” — every track is named for a color — is a shiny reaffirmation of the steps that have made the reggaeton revival part of the broader global pop conversation over the past few years. The production is buoyant and polished, using reggaeton as a skeleton for ambitiously scaled club-pop. Sometimes there are left-field flourishes, like the kazoo-ish buzz running through “Amarillo,” or the ethereal whistles on “Arcoíris,” a collaboration with the Nigerian Afrobeats progressive Mr. Eazi.

But by and large, these are polite songs, and familiar, too. Balvin is a sweetly elegiac singer — see especially “Azul,” where he stretches out soft vowels like taffy — but his rapping is largely blank.

What makes these songs really travel is Balvin the hypercolor character — a dazzler in outrageously rare sneakers, chicly proportioned clothes, hair whatever color will be popular next month. His album art is by Takashi Murakami, that empty aesthete signifier who favors exuberant simplicity. And so it is with Balvin.