Learn German With Beatrice Egli with these 15 Song Recommendations (Full Translations Included!)

"Volles Risiko" is about throwing caution to the wind for love. Beatrice Egli asks her partner if they feel the same rush she does, the adrenaline and the pull to go further than either of them planned.

The chorus is the heart of the song: "Wir gehen volles Risiko" ("We're taking the full risk"). Tonight there's no room for maybes. She wants to fly to the moon with this person, take the leap, and go all in on the feeling, even if it means going too far.

The bridge admits the danger is real: her heart is racing, she can't control it, and they might be pushing things further than is wise. But that's the point. The song celebrates the thrill of letting go completely for someone, "never knocked out," always ready to do it again.

Ready, set… into happiness! Beatrice Egli’s lively Schlager-pop anthem is a turbo-charged invitation to drop your fears, grab someone’s hand, and sprint straight toward joy. The repeated starting signal “Auf die Plätze, fertig” (ready, set) turns life into an exciting race where the finish line is pure Glück — that irrepressible feeling that today could last forever. With heartbeats “in light-speed” and a private fire blazing “in this very moment,” the song paints love as a rocket ride that zooms past worries and refuses to look back.

Egli reminds us that bliss expands when it’s shared: together, “nothing can happen to us,” and every second glows with the spark of eternity. Whether you imagine dancing under neon lights or driving through the night until the horizon melts away, this track celebrates living passionately in the now and trusting that the best adventures begin with a simple countdown. Ready, set… let’s go find our happiness!

Beatrice Egli sets the whole song on a train platform just after ten at night, worn out from a long day: "Ein furchtbar langer Tag, der liegt nun hinter mir" ("A terribly long day now lies behind me"). She's watching the pigeons under the station roof, barely keeping her eyes open, and the moment the train pulls in she's already picturing the other end of the ride.

What she's chasing isn't really a place, it's a feeling. "Wo Geborgenheit am allermeisten zählt" ("where warmth matters most of all") is the line she returns to again and again: an old man dozing off with a smile, a quiet compartment, the city lights sliding past the window. By the time she gets to "Wieder spür' ich bin zuhaus" ("feel again, I'm home"), you believe every word of it. Nothing dramatic happens in this song. That's kind of the point.

"Das wissen nur wir" is a duet about a spark two people feel the moment they meet, and everyone else notices before they're ready to admit it.

Beatrice Egli and Florian Silbereisen sing about the pull between them: people around them are already talking, already sure something's going on, while the two of them are still pretending it might not be. The chorus turns that tension into a promise: behind closed doors tonight, whatever happens is only theirs to know.

It's a warm, playful take on a secret that isn't really a secret at all, just a feeling neither of them can fully explain to anyone else.

Beatrice Egli opens mid-doubt: 'Wenn du denkst, es geht nicht weiter' [When you think there's no way forward]. Her answer is arithmetic, not a pep talk: 'Sieben mal Herz, sieben mal Schmerz, sieben Tränen, sieben mal Glück, sieben mal Pech' [seven times heart, seven times pain, seven tears, seven times luck, seven times bad luck]. Heart and hurt get counted out in equal shares, so one never outnumbers the other for long.

The chorus keeps circling back to that promise: 'Doch am Ende kehrt das Glück auch zu dir, mein Freund, zurück' [But in the end, luck comes back to you too, my friend]. Her advice for getting there isn't a plan, just nerve: 'Hab etwas Mut, und alles wird gut' [Have a little courage, and everything will turn out fine].

Beatrice Egli sings this one in Swiss German, and it is a love song to a heavy-metal boyfriend. He loves AC/DC, Guns 'N Roses and Metallica, and he even had "Gotthard" (a Swiss hard-rock band) tattooed on his back: "Häsch du dir 'Gotthard' igraviert" (you had "Gotthard" engraved). He acts like a hard rocker and hopes it impresses her, but "wenn d'Nacht chunt, dänn wirsch du mega romantisch" (when the night comes, you get super romantic).

In the second verse the joke flips. She rides on the back of his Harley, knows exactly how to pose, and admits that even if nobody would guess it, "han au ich Bock uf Rock" (I'm in the mood for rock too). The chorus is her request: "Rock mis Härz, chum ah mini Sitä" (rock my heart, come to my side), wild or tender, she doesn't mind which.

A tip for learners: Swiss German bends standard German spellings. Härz is Herz (heart), chum is komm (come), bisch is bist (you are), and cheibe guät means "damn good".

Beatrice Egli turns a three-word motto into a chorus: "Leben, lieben, lachen" (live, love, laugh), with "Le li la" as the sing-along shorthand for it. The verses admit things go wrong. "Steh' ich auch mal im Regen" (even if I'm sometimes in the rain) and "Nichts läuft bei mir nach Plan" (nothing goes to plan for me), but she answers with action: she throws open the windows and throws all her worries out, then opens the playlist and turns up the speakers.

The second verse is darker, with "Manchmal da fließen Tränen" (sometimes tears flow), and the cure is a fortune cookie "das hilft beim Herzburnout" (that helps with heart burnout). The hook closes on the old German saying "einmal ist keinmal" (once doesn't count), bent into a YOLO line: we only live once, so go all in.

Beatrice Egli sings about a relationship she keeps ending and keeps going back to. She has walked out a thousand times, "Ich hab' schon tausendmal Schluss gemacht" (I've already broken up a thousand times), but "Doch komm' nicht los von dir" (But I can't let go of you). They meet again at night, and then he leaves.

The chorus names the trap: it feels "verboten gut" (sinfully good), "heißer als die Hölle" (hotter than hell), and the feeling is "wie ein Vulkan / Den man nicht löschen kann" (like a volcano that can't be put out). The line "Ich will was ich nicht will" (I want what I don't want) says it plainest. This live version folds in the Italian hit "Bello e impossibile", whose lines about a love that is beautiful, impossible and never enough say the same thing in a second language.

Now and Here, Forever plunges us into one of love’s most restless moments – the small hours of the night when longing takes over. At 3 a.m. and 4 a.m., the Swiss pop star Beatrice Egli is wide-awake, counting tears instead of sheep and replaying the collapse of a once perfect romance. Every line is packed with urgency: without her partner, “everything feels cold and empty,” and even the silence of her room seems unbearable.

Yet this isn’t a song of quiet sadness; it’s a turbo-charged declaration of desire. The repeated chorus – “Ich will dich jetzt und hier für immer” (I want you now and here forever) – fires off like a mantra, blending passion, desperation, and a touch of delicious madness. Beatrice craves all the sensory reminders of love: her partner’s scent in the room, the “heaven” they shared each night, the daily “wahnsinn” (craziness) that made life sparkle. The longer they’re apart, the stronger the pull becomes, turning yearning into an unstoppable force. In short, this Schlager anthem captures that electrifying moment when you realize you don’t just miss someone – you need them, right now, right here, forever.

The singer runs away after a fight. "Einfach nur weg, nahm den nächsten Flug nach Rom" (Just away, took the next flight to Rome), she says, sure she can cope alone. The first night is fine; "Doch die zweite tat schon weh" (But the second one already hurt). Sitting in Roman cafés, "mittendrin und doch allein" (right in the middle and yet alone), she admits the quarrel was "so ein dummer Streit" (such a stupid fight) and only three days old.

The chorus is her confession: "Keiner küsst mich so wie du" (Nobody kisses me like you). She has "so'n Feuerberg im Bauch" (such a fire in my belly), the flutter won't stop, and "Ich bin süchtig, ich geb's zu" (I'm addicted, I admit it). By the second verse she has decided: "Und ich nehm' den nächsten Flieger hin zu dir" (And I'll take the next plane to you).

Beatrice Egli is a Swiss Schlager singer, and "Kick Im Augenblick" is pure Schlager optimism: a look back at rough years that ends with a big, clap-along decision to live in the moment. The verses are honest about the mess. "Manchmal drehte sich die Welt zu schnell" (sometimes the world spun too fast), "Es hat uns zerrissen" (it tore us apart), but then comes the shrug: "Tränen trocknen schnell" (tears dry quickly).

The chorus is the whole point. "Wir leben den Kick im Augenblick" (we live for the kick in the moment) uses Kick, borrowed straight from English, to mean a thrill or a rush. "Im Augenblick" literally means "in the blink of an eye", and it is the everyday German way to say "right now". Then "Momente wie diese kommen nie wieder" (moments like these never come again) hammers home why you should grab them.

The second verse is the most grown-up part. "Keiner hat gesagt, es wäre leicht" (nobody said it would be easy) admits the hard times, and the singer even suggests they "waren auch für etwas gut vielleicht" (were maybe good for something). The bridge sums up her philosophy in one tidy line: "Unser Leben ist, was man daraus macht" (our life is what you make of it). That daraus machen construction is worth learning; Germans use it all the time.

"Halt Mich" is Beatrice Egli asking for exactly what the title says: hold me. The song opens dazed and a little unsteady, with "Nehm Träume für bare Münze" (I take dreams at face value) and "Schwelge in Phantasie" (Indulge in fantasy), like someone who has fallen hard enough that she has stopped checking whether any of it is real.

What she actually wants keeps coming back to one simple line: "Halt mich nur ein bisschen" (Just hold me a little), "Bis ich schlafen kann" (until I can sleep). No grand promises, just company. She lists small physical comforts: safety, warmth, someone to lean on, "Deck mich zu mit Zärtlichkeiten" (Cover me with caresses), and by the bridge she stops trying to stay composed about any of it: "Kopflos, sorglos" (Headless, carefree), happy to lose herself completely.

This is a song about grabbing a good moment while it lasts. Beatrice Egli opens with "Das ist der Moment / In dem alles stimmt" (This is the moment / In which everything is right), and the feeling is light enough to fly "Wie ein Schmetterling" (Like a butterfly). The happiness wasn't planned either: "Wir haben ihn nicht gesucht / Und doch gefunden" (We didn't look for it / And yet found it).

Then the chorus turns the volume up, literally. "Wir leben jetzt / Wir leben laut / Wir wollen mehr / Wir drehen auf" (We live now / We live loud / We want more / We crank it up). The second verse brings the bigger images, a "Tanz auf dem Vulkan" (Dance on the volcano) and feelings that "fahren Achterbahn" (ride a rollercoaster), and she says they have already "das große Los ... gezogen" (drawn the big prize). With "Für uns gibt es kein Zurück" (For us there's no turning back) on repeat, it's a party song with one clear message: this is your shot at happiness, so take it.

Herzgesteuert is Beatrice Egli singing about letting attraction take the lead instead of overthinking it. From the first lines, a look is enough to pull her in completely, and she admits there is no point fighting it.

The chorus names the feeling directly: they are heart-driven, running purely on emotion. The night is not for sleeping, it is for being close to someone. There is no plan here, just two people choosing to stay in the moment together rather than let it slip by.

The second half keeps that same energy, ready for whatever the night brings, feelings in charge, and no words needed to make it clear.

"Neuanfang" ("New Beginning") is Beatrice Egli's song about the courage it takes to start over. She opens feeling adrift, like a ship without a sail, unsure which direction is right.

By the chorus she has made her choice. She is resetting everything and trusting how she feels now, with no need to compare it to who she used to be.

In the bridge she admits the fear comes first, but every new beginning needs an ending before it. She lets go of what scares her and follows her heart, whatever direction that takes her.