LEARN LYRICS

frenesífrenzy

Frenesí translates to "frenzy" or "passion". It's a dramatic and intense word that perfectly captures the passionate and almost obsessive love described in the song.

Esteman uses it repeatedly to express an overwhelming, almost uncontrollable desire and intensity in love, asking for the same "frenesí" in return. It's a word that evokes strong emotions and makes the song's theme of passionate love unforgettable.

Esteman leans into the classic bolero mode for “Frenesí,” framing romantic longing as full surrender rather than restraint. The opening plea — “Bésame con frenesí” (“Kiss me with frenzy”) — sets the terms: this is not a gentle courtship but an urgent, almost desperate request.

The lyrics track what that surrender costs and gives. “Muerta mi altivez cuando mi orgullo rodó, a tus pies” (“My pride is dead now that it fell at your feet”) admits every defense is down, while “Quiero que vivas sólo para mí” (“I want you to live only for me”) pushes just as hard the other way. By the closing refrain the kiss has absorbed everything — “alma, piedad, corazón” (“soul, pity, heart”) — leaving nothing held in reserve.

Esteman (Esteban Mateus Williamson), born on May 4, 1984, in Bogotá, Colombia, is a celebrated singer and songwriter known for his unique blend of rock en español, Latin pop, and alternative pop. Rising to fame with his viral hit "No te metas a mi Facebook", Esteman has become a vibrant voice in Latin music, releasing acclaimed albums such as 1er Acto, Caótica Belleza, and Amor Libre.

His music is recognized for its theatrical and colorful style, drawing inspiration from his background in art at Universidad de los Andes. Esteman is also noted for his openness about his identity as an openly gay artist, using his platform to promote inclusivity and break taboos within the music industry. With a feminist outlook and a commitment to challenging traditional machismo in Latin music, Esteman continues to captivate audiences across Colombia, Mexico, the United States, and beyond.

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