Learn Spanish With Abraham Mateo with these 13 Song Recommendations (Full Translations Included!)

This is a classic pop duet about two people who have broken up and are both completely miserable without each other. Abraham Mateo and Ana Mena trade verses, singing about how much they regret what happened and how desperately they want to get back together. The feeling is mutual, and they both admit, "ahora que no estás aquí / Que me di cuenta de lo que perdí" (now that you're not here / I realized what I lost).

They paint a pretty dramatic picture of their heartbreak. The house feels like hell where "Queman los recuerdos" (memories burn), and they feel like they're drowning in sadness. The core of the song is a direct apology and a plea for a second chance. They both sing the main chorus line, "Quiero decirte que lo siento, que te echo de menos" (I want to tell you I'm sorry, that I miss you), making it clear they still love each other and haven't given up hope.

This song is a huge, dramatic breakup anthem! Spanish singer Abraham Mateo teams up with superstars Jennifer Lopez and Yandel to tell the story of a relationship that has completely fallen apart. The main message is brutally clear right from the chorus: "Se acabó el amor" [The love is over]. It's not a sad, quiet goodbye; it's a final declaration from both sides that there are no second chances.

Both people in the relationship feel wronged and are ready to move on, even if it hurts. Jennifer Lopez sings about being left alone, saying "Cuántas noches me dejaste sola y arrepentida" [How many nights you left me alone and regretful]. The men fire back, claiming she was cold and that they're tired of being alone in the relationship. Yandel's verse is especially blunt, accusing her of being a "mala mujer" [bad woman]. In the end, they both decide it's time to start fresh, even if it means going out to party through the pain.

This song is all about that moment you see someone across the room and just know you have to talk to them, even if you're shy. Abraham Mateo kicks things off by admitting he's not usually the one to make the first move, saying, "Te confieso que lo mío no es realmente hablar / Soy algo tímido como verás" (I confess that my thing isn't really talking / I'm a bit shy as you'll see). But for this person, he's willing to push past his nerves and confess everything.

The chorus is a super direct and catchy declaration of his feelings: "Ya me tienes como un loco enamorado / Baby, la verdad es que tú me gustas demasiado" (You already have me like a crazy man in love / Baby, the truth is I like you way too much). He's completely smitten and can't get her out of his head. Instead of just talking, he wants to show her how he feels by dancing close all night long, hoping she feels the same way he does.

Missed calls, missed chances, and an upbeat goodbye. In this lively pop tune, Abraham Mateo slips on dancing shoes to deliver a firm message to an ex who wants a second chance. The singer remembers all the times she ignored his love and left him to suffer in silence; now that she comes running back, he calmly shuts the door with the catchy refrain "Si no supiste amar, ahora te puedes marchar" – If you didn’t know how to love, now you can walk away.

From heartbreak to high-energy empowerment. Instead of wallowing, the narrator celebrates his own growth. He has already found someone new, learned to value himself, and refuses to reopen old wounds. The bright, retro-flavored arrangement turns a goodbye into a feel-good victory dance, reminding listeners that self-respect can sound just as sweet as romance. Sing along, let the rhythm lift you, and practice saying a confident adiós in Spanish!

Ni Te Imaginas is Abraham Mateo’s heartfelt pop confessional about a love that simply will not leave his mind. From the very first line, he wakes up thinking of her and spends the rest of the song admitting how he still writes her messages in his head, relives their mischievous nights in Madrid, and grapples with the messy cocktail of regret, longing, and late-night heartbreak. Every “Tú ni te imaginas” (You can’t even imagine) pounds home the idea that his ex has no clue just how deeply she is missed: he searched for her, counted the days, and never once managed to forget.

Yet this is not just a sad lament, it is a last-chance plea. Mateo’s voice shifts between tender whispers and raw frustration as he begs, “Que vuelvas conmigo” (Come back to me). His honesty is disarming: he feels confused, “jodido,” and even admits to ending up “borracho y perdido” (drunk and lost), but he still believes the relationship is worth one more try. The song’s catchy pop beat keeps the mood from sinking into despair, turning the track into an anthem for anyone who has ever held on to a love that refuses to fade, no matter how much time passes.

In "Me Vuelvo Loco," which translates to "I'm Going Crazy," Spanish artist Abraham Mateo and CNCO express an intense and urgent desire to be with someone in person. The singers are tired of just calling; they want a real-life connection, describing it with modern metaphors like wanting to see their love interest in "HD" and "3D." They feel that being together in person is much better—"en vivo es mejor"—and promise an unforgettable, out-of-this-world experience, even suggesting they could "llegar hasta el cielo" (reach the sky).

The lyrics are filled with playful, contemporary compliments and pop culture references. The singers declare their love interest is better than Netflix and that they fit together perfectly like a game of Tetris. They boast that when they're together, they become a "trending topic." This fun, flirty track captures the feeling of being so captivated by someone that being apart from them is enough to make you feel like you're going crazy.

Abraham Mateo built "Contigo" as a four-way duet with Katalina, Leslie Shaw, and Diana Ela, and the song keeps handing the hook back and forth instead of sitting on one lead voice. It opens with a boast, "Lo tengo comiendo en mi mano" (I have him eating out of my hand) and "Es que lo tengo amarrao" (I've got him tied up), a woman bragging about how easily she controls a man who comes running when she calls. The tone stays cocky through lines like "Esta partida yo la gano" (I'm winning this round).

Then the chorus turns physical: "Quiero que te pegues a mi cintura" (I want you pressed against my waist) and "Y bailar bajo la lluvia" (and dance in the rain). It gets more direct from there. "Quiero respirar tu cuerpo hasta por la mañana" (I want to breathe your body until morning) and "Sé que a ti te encanta el desayuno en la cama" (I know you love breakfast in bed) turn the come-on into an all-night plan. Every artist gets a name-check in the outro tag, "Katalina, yeah" and "Leslie shaw" among them, and Mateo closes it the way he usually does, repping his hometown: "Desde cádiz para el mundo" (from Cádiz to the world).

"Without You" is a breakup song told after the fact, from the side that stayed quiet. When his partner said she was leaving, he watched her smile even while her eyes gave her away: "Mas tus ojos eran trozos del dolor" ("But your eyes were pieces of pain"). He chose silence over a fight, "No quise hablar" ("I didn't want to talk"), and only managed one word at the door: goodbye. He's been regretting it since.

The chorus is where the song actually lives. "No sé vivir si no es contigo" ("I don't know how to live if it's not with you") repeats until it stops sounding like a lyric and starts sounding like someone talking themselves in circles. Abraham Mateo and Caroline Costa trade the verses back and forth, so the song plays like an argument five years too late, the kind where you finally say everything you should have said with nobody left to hear it.

Bailarina drops listeners straight into a neon-lit dance floor where sparks fly at first sight. Abraham Mateo and Danny Ocean paint the picture of a hypnotic woman whose moves, beauty, and confident aura steal every glance in the club. Even while the singers try dancing with other people, they confess they can only think about her—“la carita más linda de Europa.” The lyrics mix playful admiration with a cheeky sense of guilt, as the artists keep asking for divine forgiveness for the inevitable mischief they feel is coming.

Beneath the irresistible rhythm lies a tug-of-war between temptation and conscience. The chorus urges the mystery woman to “put your body on the stage,” celebrating her as a natural-born performer, while the verses reveal the men’s inner struggle against crossing the line into infidelity. “Bailarina” is ultimately a fun, high-energy anthem about desire so strong it borderlines trouble, capturing that universal moment when one incredible dancer makes the whole room fade away.

Mueve (Spanish for Move) is an irresistible invitation to a late-night dance floor where Abraham Mateo and Lali trade playful English-Spanish lines that celebrate pure, physical chemistry; over a bouncing pop beat they urge each other to get “a little closer,” comparing their bodies to a volcán ready to erupt, describing the heat as an incendio, and even joking that the sparks are so intense someone should “call the police.” The song’s core message is simple yet electrifying: let the music take control, shake off inhibitions, and surrender to the rhythm that melts silence, breaks boundaries, and turns a casual dance into a fiery moment of connection.

“Me Di Cuenta” is Abraham Mateo’s lively confession of a man who discovers, amidst loud parties and endless flirting, that the single life really isn’t his thing; the Spanish pop star sings about feeling lost while hopping from one fleeting hookup to another, then suddenly realizing that what he truly misses is the girl who wore her Barça jersey while arguing with his Madrid one. Regretting the breakup, he owns up to his mistake, admits that even their fights had charm, and promises never to leave her alone again because, compared to her, everything and everyone else “me la suda” (he just doesn’t care). The track turns a moment of clarity—sparked by a rum-and-pineapple drink—into a catchy anthem about trading empty nights for real commitment, making it both relatable and irresistibly fun to sing along to.

Abraham Mateo and Belinda team up for "Me Encantaría," a song all about instant attraction and a strong desire to get to know someone better. The lyrics kick off with Abraham being completely captivated by someone he doesn't even know the name of, saying her scent "robó el pensamiento" [stole his thoughts]. He loves how she looks in anything, describing her as having an "un flow anormal" [an abnormal flow] and looking "exclusiva con lo que sea que lleve puesto" [exclusive with whatever she's wearing].

From there, the song is a direct invitation to see what could happen. Both artists express a strong wish to "saberme tu cuerpo" [know your body] and "recorrerte lento" [explore you slowly], hinting at a passionate night. There's a playful energy with lines like "Tu cerveza, yo tequila, quédate" [Your beer, I'm tequila, stay] and a sweet request to "Ven a pintarme el cuerpo de estrellas" [Come paint my body with stars]. Belinda even drops a fun line, "La noche se 'Belinda', Jeme sens belle, Que hoy me siento flamenquita" [The night turns 'Belinda', I feel beautiful, because today I feel a bit flamenco], adding her own flair to the romantic vibe. It's all about that undeniable spark and wanting to hit play on a new connection, as Abraham sings, "Estaba en stop y diste al play" [It was on stop and you pressed play].

Abraham Mateo's "Repetíamos" is a super relatable song about being stuck in the past after a breakup. He's clearly going through it, constantly thinking about his ex. He sings, "Le doy vueltas a que ya no estás aquí" [I keep thinking that you're no longer here] and even admits, "Ya me sé de memoria hasta tus fotos del ig" [I already know your Instagram photos by heart] – we've all been there, right?

The whole song is a loop of memories, especially about their physical connection and promises. He keeps repeating, "De cómo en la cama repetíamos / De to'a' las cosas que nos prometíamo' / De cómo nos quemábamos y nos comíamos" [Of how we repeated in bed / Of all the things we promised each other / Of how we burned and devoured each other]. He's trying to move on, going "del agua al café, del café pa'l alcohol" [from water to coffee, from coffee to alcohol], but nothing helps. He even calls himself "tan solo un pendejo / Con un disfraz de soltero" [just an idiot / In a bachelor's disguise] because he can't forget her. It's a raw look at how hard it is to let go when you're still so caught up in what used to be.