Learn Spanish With Kali Uchis with these 20 Song Recommendations (Full Translations Included!)

Kali Uchis and Peso Pluma team up on this smooth R&B track to celebrate someone so pure and untouchable they feel celestial. While everyone else chases money and fame with "un amor superficial" [a superficial love], this girl only wants "calma, no dañar su alma" [calm, not to hurt her soul]. The lyrics say people made big promises and broke her heart ("le rompieron el cora'"), leaving her with dry eyes from all the crying. Even so, she keeps smiling. She simply lives on a higher plane where bad energy cannot touch her: "Heaven's her residence, y ella no se va a caer" [and she is not going to fall].

What makes the song fun is how playful the praise gets. Instead of wallowing in heartbreak, the singers crown her "la favorita de Dios" [God's favorite] and treat her like a rare prize that regular people cannot afford. The slang adds real flavor here, like shortening corazón [heart] to "cora'" or calling an out-of-reach woman a "princesita inalcanzable". In fact, Peso Pluma basically tells anyone hoping to date her that they better start praying: "El que la quiera, que rece" [Whoever wants her, let them pray]. She is light, she is an angel, and she knows it.

"Te Mata" opens with an interviewer asking what Kali Uchis would say to anyone who doubted she would make it this far. Her response sets the mood immediately: "A mí me gusta que vean lo feliz que soy sin ellos" [I like that they see how happy I am without them]. What follows is a dramatic breakup track where she confronts an ex who treated her badly, recalling how their actions "dolían como balas" [hurt like bullets] while she silently cried herself to sleep. Instead of staying broken, she grew her own wings to fly away, and now she fully embraces being the villain in her ex's narrative. As she puts it, "Si eso me hace mala, pues diabla es lo que soy" [If that makes me bad, then a devil is what I am].

What makes this track hit so hard is the petty satisfaction running through every line. The phrase "eso te mata" translates literally to "that kills you," but in everyday Spanish, it means something is driving someone crazy with jealousy or frustration. Kali knows that seeing her thrive with someone new who actually makes her laugh is what hurts her ex the most. She sings "mis días ya no son gris" [my days are no longer gray], drawing a clean line between the misery she tolerated in the past and the freedom she refuses to give up now.

Ever missed someone so much that your brain tries to bridge the physical gap on its own? That is the exact mood Colombian-American singer Kali Uchis rides in "Telepatía." Stuck in bed staring at a full moon ("La luna está llena, mi cama vacía" [The moon is full, my bed is empty]), she leans into a dreamy fantasy of long-distance intimacy. Even though miles separate the lovers, she claims they connect across the distance without physical touch ("A kilómetros estamos conectando / Y me prendes aunque no me estés tocando" [Miles away we are connecting / And you turn me on even though you aren't touching me]).

Kali drifts between English and Spanish to describe reading her partner's thoughts like an open book. She hears their thoughts like a tune and claims they stay on the line just to listen to her sleep ("You stay on the phone just to hear me breathe / On repeat"). She boldly boasts about how wild things would get in person: "Si te tuviera de frente, la mente te la volaría" (If I had you in front of me, I would blow your mind). In Spanish, "volar la mente" works just like the English idiom "to blow someone's mind," promising an experience so intense it overwhelms you. It is a smooth, slightly cheeky track about letting your imagination do the heavy lifting when a flight is the only thing keeping you apart.

Kali Uchis blends English and Spanish in "Solita" to talk about walking away from someone toxic and choosing your own company. She kicks things off with sharp insults in Spanish, comparing her ex to a "serpiente venenosa" [venomous snake] and a "calle rota" [broken street]. Seeing him with someone else hurt like a rose thorn, but she knows staying means letting him keep "rubbin' salt into all my open wounds." That English idiom describes making an already painful situation much worse, and she is totally done with it.

Instead of wallowing, she heads to the dance floor by herself. The chorus repeats "Bailando aquí sola / Como a mí me gusta" [Dancing here alone / Just how I like it], celebrating the freedom of doing things on her own terms. When someone nearby smells her ex's cologne and asks why she is unaccompanied, her answer is crystal clear: "Es mejor que con el diablo" [It is better than being with the devil]. Being alone might mean facing some personal demons, but it beats staying with someone who treats you like poison.

Fue Mejor is a smooth, bilingual R&B track where Kali Uchis and SZA walk away from toxic partners and refuse to look back. Kali opens by shrugging off both material clutter and an ex who never truly understood her with "Tú no me conoces" ("You don't know me"). Instead of sticking around to crash, she decides that "Fue mejor volar para no caerme" ("It was better to fly so I wouldn't fall"). She knows her worth now, throwing out the blunt truth that her ex is currently with someone else doing things "Que en mi cama te enseñé" ("That I taught you in my bed").

The central punch of the track comes from the lyric "Hay cosas que se tatúan sin tinta" ("There are things that are tattooed without ink"). It is a memorable way to say that some memories leave a permanent mark without any physical trace. SZA jumps in to match that energy, calling out the mind games with "Te hace sentir bueno cuando me tratas tan mal" ("It makes you feel good when you treat me so bad"). Leaving in a Jeep at midnight might hurt, but finding freedom is worth the ride.

Kali Uchis gives you pure, smooth confidence in "NO HAY LEY", making it clear that other people's opinions mean nothing when the chemistry is right. She opens by waking up with her partner on her mind, admitting she felt their tongues touching, before immediately brushing off the critics. People around her judge the romance and say she is crazy, but she shuts them down with "Dicen que no es normal / Pero me da igual" ("They say it's not normal / But I don't care"). To her, gossip is just background noise. She literally tunes out the world with "All I hear is la-da-di-da-da-do", choosing physical affection over drama.

The core message lives in the title line: "en el amor no hay ley" ("in love, there is no law"). That phrase means real attraction makes its own rules regardless of outside judgment. Kali mixes Spanish and English effortlessly, moving from flirtatious demands like "besos en la espalda" ("kisses on the back") and asking to take off her mini skirt, to declaring herself a "high class lover, in the covers". She knows what she brings to the table, boldly reminding her partner that only she can do "cosas mágicas" ("magical things"). It is a fun, defiant track about kissing whoever you want, whenever you want, and letting everyone else stare.

Kali Uchis opens this one with a dare. "¿Y tú que pensaste? ¿Que yo me iba echar a morir?" [What'd you think? That I'd just curl up and die?] she asks, then answers herself: "La venganza es dulce, ¿sabes?" [Revenge is sweet, you know?]. It's a kiss-off delivered soft and slow, the kind of line that lands harder because she never raises her voice.

Then the song turns, and the bitterness gives way to something gentler: the moon itself falls in love. "Vive la luna enamorada" [The love-struck moon lives], she sings, watching it hang over the night the way a new feeling changes how everything else looks. Fascination, a little wonder at her own dreaming, and the sense that whatever this is now lives in the person in front of her, not the one she left behind.

This song is the ultimate breakup anthem for when you know you've made the right decision, even if it still hurts a little. Kali Uchis is telling her ex, in no uncertain terms, that it's over. She's almost taunting them, singing, "Me perdiste / Baby, qué triste / Tiene que doler" (You lost me / Baby, how sad / It has to hurt). She imagines them waking up alone, trying and failing to replace her, and makes it clear she's not picking up the phone if they call.

What makes the song so good is that she admits it's not easy. She acknowledges they had a real connection, saying, "You know that I got a soft spot / For you" and that "Nobody can push my buttons / Like you". She even confesses, "A veces sí me da pesar" (Sometimes I do feel regret). But despite that lingering feeling, she's standing firm. The final word is "No voy a volver / Pa nada y nunca, baby, ya me perdiste" (I'm not coming back / For anything and never, baby, you've already lost me). It's a powerful declaration of choosing yourself, even when a part of you misses what you're leaving behind.

Kali Uchis blends English and Spanish into a smooth, late-night confession about choosing passion over peace of mind. Right from the start, she admits people warn her that this romance is bad news: "Dicen que no me conviene to fall in love with you" [They say it is not good for me to fall in love with you]. But honestly? She does not care. She points out that outsiders will never match her devotion with "Como te quiero yo" [How I love you]. For her, walking away is out of the question because "It's too late to close that door" and "Sin ti no puedo estar" [Without you I cannot be].

Relationships get messy, and she embraces that reality with the classic romantic drama line "Si no hay drama no hay amor" [If there is no drama, there is no love]. Still, she is tired of the actual fighting. Instead of arguing until sunrise, she proposes a much simpler fix: "Ya no quiero más problemas / Te quiero en la cama y sin más complicación" [I don't want any more problems / I want you in bed without any more complication]. Because "Tomorrow may never come," she cuts through the everyday bickering to focus on what she really wants—holding onto the person she loves, unconditionally, all night long.

"Muévelo" is Kali Uchis telling a heartbroken friend to stop crying alone in her room and come dance instead. The song opens gently, coaxing her out the door, then turns into a confident, playful chorus about moving her body and shutting down anyone ("un asqueroso," a creep) who tries to bother her on the dance floor.

The verses mix Spanish and English, a style Kali Uchis is known for, and the message stays simple throughout: heartbreak passes, and dancing is how you get your power back. She even name-drops Shakira while telling her friend to move her hips like nobody's watching.

By the end, "Muévelo" isn't really about one bad relationship. It's an anthem for shaking off a rough night and reminding yourself you're still that girl.

“No Eres Tú (Soy Yo)” finds Kali Uchis spinning the classic breakup cliché into a confident power move. She tells a potential partner that the danger lies not in them but in her: she can sweep someone off their feet, make them vicio-level addicted, then leave them waiting for the impossible — like snow in spring. The repeated hook “No eres tú, soy yo” flips from an apologetic excuse into a fearless declaration of self-prioritization.

Over a sultry bilingual groove, Kali paints herself as a tempting yet untouchable heartbreaker: no commitments, no refunds, and no fairy-tale endings. She warns that her love is thrilling but fictitious, positioning independence and self-awareness above romance. Ultimately, the song celebrates agency and the freedom to set your own terms, all while dripping with Uchis’s trademark blend of Colombian-American swagger.

If someone ever invents a fake romance with you just to get clout, Kali Uchis wrote the exact antidote. In this bilingual R&B track, she confronts an ex or a wannabe who tells lies about their past: ¿Qué haces diciéndole a la gente / Que tuvimos relación, cuando eso no pasó? ("What are you doing telling people we had a relationship, when that didn't happen?"). Kali tells them their memory is "wonky"—which is a fun, casual English word for unreliable or crooked—because the real truth is simply bruised pride. She knows why they are mad: she never gave them attention, and now she is thriving while they run their mouth.

Her response is totally unbothered and deliciously blunt. She repeatedly asks ¿Hasta cuándo tú vas a hablar de mí? ("Until when are you going to talk about me?") before reminding them that she doesn't even remember them anymore. When people can't stop gossiping, Kali just shrugs and tells them to "paint me as the villain if that makes you feel better." It is hilarious, petty, and wildly confident, especially at the end when she signs off with a breezy despertando envidias como siempre, querida ("waking up envy as always, darling") and tells everyone to leave the old drama in the past.

Kali Uchis and KAROL G team up for a sultry, slow-burning track all about intense chemistry, late-night flirting, and undeniable attraction on the dance floor. Right from the start, they bring lethal confidence, calling the girl a killer with a style to match: “Tremenda asesina con un flow para matar” ("Tremendous killer with a flow to kill"). The hook compares physical closeness to body ink (“se me pega como un tattoo” / "sticks to me like a tattoo"), setting the mood for a bold party track loaded with swagger, diamonds, and movie-level drama—even comparing the girl to a character straight out of a Quentin Tarantino film (“Una muñequita de una peli Tarantino”).

Along the way, the lyrics offer great slang and cultural references to learn. Kali describes herself using delicious Colombian staples, saying she is as soft as honey and coconut and sweet like arepas de choclo (sweet corn cakes). She shouts out women from Brazil, Colombia, the Dominican Republic, Puerto Rico, and Mexico, delivering a totally shameless, direct line: “Y esta noche soy lesbiana, tú me das las ganas” ("And tonight I'm a lesbian, you give me the urge"). Meanwhile, KAROL G sprinkles in heavy Medellín street slang like chimba (Colombian slang for cool or amazing) when she guarantees nobody is hotter (“nadie está más chimba que tú”). Packed with talk of strawberry lip gloss, sunroofs, and bitten lips, it is a fun, upfront celebration of pure seduction.

I R&B-låten "Te Mata" gör Kali Uchis upp med ett destruktivt förflutet och njuter av sin revansch. Låten börjar med en intervjufråga om vad hon vill säga till tvivlarna, och svaret sätter tonen direkt: "A mí me gusta que vean lo feliz que soy sin ellos" [Jag gillar att de ser hur lycklig jag är utan dem]. Hon blickar tillbaka på en tid då hon svalde smärta, grät sig till sömns och lät någon såra henne med handlingar som träffade som kulor ("Me dolían como balas" [De sårade mig som kulor]). Men i stället för att fastna i rollen som offer accepterar hon att exet målar upp henne som boven i dramat: "Si eso me hace mala, pues diabla es lo que soy" [Om det gör mig elak, då är det en djävul jag är]. Det är befriande kaxigt och rakt på sak.

Hela poängen i låten kretsar kring titelfrasen "eso te mata" [det dödar dig] – alltså att exet inte tål att se henne lyckas på egen hand. Hon sjunger att hon hittat sina egna vingar för att flyga, och den friheten sticker i ögonen på den som försökte trycka ner henne. Gråa dagar har bytts mot äkta glädje och en ny partner som får henne att skratta. Med en vass blandning av spanska och engelska sätter hon ner foten med "So just let me be" [Så låt mig bara vara] och gör det kristallklart att dörren är stängd för gott.

Kali Uchis wkracza w utwór z niesamowitym zacięciem. Kawałek zaczyna się od pytania o ludzi, którzy w nią wątpili, a jej odpowiedź jest krótka i bezlitosna: uwielbia patrzeć, jak widzą jej szczęście bez nich. W tekście padają gorzkie wspomnienia o kimś, kto źle ją traktował – wspomina, że te ciosy bolały niczym kule (me dolían como balas – bolały mnie jak kule), a noce spędzała płacząc do snu. Najlepszy jest tu jednak moment buntu. Zamiast udawać niewinną ofiarę, Kali bezczelnie przyjmuje rolę narzuconą przez byłego partnera: Yo que soy la diabla de tu historia (Ja, która jestem diablicą w twojej historii). Skoro walka o siebie robi z niej tę złą, to z uśmiechem na twarzy zostaje diablicą!

Cała puenta utworu tkwi w prostej prawdzie: toksycznego eksa najbardziej boli to, że ona wreszcie rozwinęła skrzydła i znalazła kogoś, kto kocha ją taką, jaka jest. Tytułowe Y eso es lo que te mata (I to cię dobija / to cię zabija) to idealny prztyczek w nos dla kogoś, kto liczył na jej upadek. Jej dni przestały być szare (mis días ya no son gris), a ona po prostu odcina przeszłość i żąda spokoju: So just let me be (Po prostu daj mi spokój). To świetny, wyrazisty numer o odzyskaniu siły, w którym satysfakcja z własnego szczęścia okazuje się najsłodszą zemstą.

Hast du schon mal erlebt, dass dein eigenes Glück jemanden zur Weißglut treibt? Genau darum geht es in "Te Mata" von Kali Uchis. Der Track startet mit einem kurzen Interview-Schnipsel, in dem sie gefragt wird, was sie den Leuten sagt, die nie an sie geglaubt haben. Ihre Antwort ist herrlich direkt: „A mí me gusta que vean lo feliz que soy sin ellos“ („Ich mag es, dass sie sehen, wie glücklich ich ohne sie bin“). Kali blickt auf eine giftige Beziehung zurück, in der Worte wie Kugeln trafen („Me dolían como balas“) und jeder Morgen sich wie ein Albtraum anfühlte. Doch diese traurige Version ihrer selbst existiert nicht mehr.

Das Beste am Song ist ihre Haltung zur Schuldfrage. Wenn ihr Ex sie jetzt als Bösewicht darstellt, nimmt sie diesen Titel mit einem Schulterzucken an: „Si eso me hace mala, pues diabla es lo que soy“ („Wenn mich das böse macht, dann bin ich eben die Teufelin“). Der Titel „Te Mata“ („Es bringt dich um“) bringt den Kern auf den Punkt: Was den anderen wirklich innerlich zerreißt, ist nicht etwa Rache, sondern dass sie ihre eigenen Flügel gefunden hat („mis propias alas“), die grauen Tage vorbei sind und sie jetzt mit jemandem lacht, der sie wirklich liebt. Ein befreiender R&B-Song mit ordentlich Biss!

In Te Mata rekent Kali Uchis genadeloos af met een ex die haar probeerde klein te houden. Het nummer begint direct brutaal met een interviewvraag over mensen die niet in haar geloofden, waarop ze ijskoud reageert: ze vindt het juist heerlijk dat ze nu zien hoe gelukkig ze is zónder hen. Ze blikt terug op een giftige relatie vol nare behandelingen die aanvoelden als kogels: "Me dolían como balas" (ze deden me pijn als kogels). Vroeger slikte ze die pijn in en huilde ze zichzelf in slaap, maar die onderdanige versie van haarzelf bestaat simpelweg niet meer.

Wat dit nummer zo heerlijk fel maakt, is hoe ze de rol van slechterik omarmt. De ex schildert haar blijkbaar af als het monster, en Kali haalt haar schouders op: "Si eso me hace mala, pues diabla es lo que soy" (als dat me slecht maakt, dan ben ik maar de duivelin). Ze heeft haar eigen vleugels gevonden en niemand knipt die nog af. De ultieme wraak? Ze is nu wél oprecht gelukkig, lacht weer en is met iemand die haar waardeert. En precies dát vreet haar ex vanbinnen op: "Y eso es lo que te mata" (en dát vreet je op / maakt je kapot). Een heerlijke trap na voor iedereen die dacht dat ze zonder hen ten onder zou gaan.

Amerikalı R&B sanatçısı Kali Uchis, Te Mata şarkısına bir soruyla giriyor: Başaracağına inanmayan insanlara ne söylerdin? Cevabı ise lafı hiç dolandırmıyor: Onlarsız ne kadar mutlu olduğunu görmelerini istiyor. Geçmişte kurşun gibi can yakan kötü muamelelere katlanan, ağlayarak uyuyup kabusa uyanan o kişi geride kaldı. Şarkıda karşısındakinin gözünde büründüğü rolü hemen sahipleniyor: "Yo que soy la diabla de tu historia" (Senin hikayendeki şeytan olan ben). Kendi kanatlarını bulup uçmayı seçtiği için kötü ilan edilecekse, bunu kabul etmekten çekinmiyor.

Eski sevgilisini asıl çıldırtan detay da tam olarak burada başlıyor: "Nunca vas a poder cortar mis alas / Y eso es lo que te mata" (Kanatlarımı asla kesemeyeceksin / Ve seni öldüren de bu). İspanyolcada "te mata", fiziksel bir ölümden ziyade birinin gururunu mahveden, içini kemiren şeyi anlatmak için kullanılır. Şarkının anlattığı kişi artık gri günleri geride bıraktı, onu güldüren ve olduğu gibi seven yeni birinin yanında. Karşı tarafın tek istediği acı çeken eski haliyken, gelen yanıt oldukça net: "Nunca te daré lo que quieres de mí" (Benden istediğini sana asla vermeyeceğim).

"Muñekita" is pure club energy built on braggy bilingual confidence and fast dembow rhythms. Kali Uchis opens by crowning herself as the ultimate prize, calling herself a muñequita (little doll) and teasing that "tu angelita es lo que necesitas" [your little angel is what you need]. Dominican star El Alfa jumps in at full throttle, flexing about designer labels like Christian Louboutin, Christian Dior, and Balenciaga before launching into a hyperactive beat chant of "chiqui-chiqui, chaka-chaka". It is goofy, loud, and entirely about looking expensive on the dance floor.

Then Kali and City Girls rapper JT take over to deliver a masterclass in brushing off broke suitors and envious haters. JT brings sharp English punchlines, laughing off girls whose dates only call them an Uber to their mother's house, while Kali dismisses texts with "lo que no me sirve, para fuera" [whatever does not serve me, get it out]. She even twists the famous Spanish nursery rhyme into a sarcastic dismissal: "sana, sana, culita de rana" [heal, heal, little frog butt]. From JT screaming like she just won a game of UNO to Kali warning that a girl with this much attitude will "walk you like a dog, woof, woof," the whole track is about knowing your worth, cutting dead weight loose, and having fun while doing it.

Me Pongo Loca is Kali Uchis’ bilingual celebration of raw passion and fearless self-expression. Jumping between Spanish and English, the Colombian-American singer lays out a tale of someone who has been hurt, but refuses to bury her emotions or dim her fire. She admits she can “get a little crazy,” yet insists it is simply the side effect of being “apasionada,” a woman who lives and loves intensely. Rather than apologizing, she flaunts her confidence, her sexuality, and her realness, warning anyone who prefers fake smiles or half-truths to keep their distance.

Beneath the catchy, hypnotic beat, Kali calls out emotional games, frenemies, and empty lies, reminding us that authenticity often makes enemies—but it also sets us free. The song swings between moments of frustration (“ya estoy harta de pensar”) and liberating self-acceptance (“pussy too good, can’t get rid of me”), capturing the messy, magnetic energy of refusing to be quiet or cold. In short, Me Pongo Loca is an empowering anthem for anyone who has ever been told they feel too much, turning that intensity into a badge of honor rather than a flaw.