Learn Spanish With KEVIN ROLDAN with these 23 Song Recommendations (Full Translations Included!)

Get ready for some serious feels with KEVIN ROLDAN and Leo Dan's "Te He Prometido"! This song is all about a love lost and the bitter realization that comes with it. Our singer is heartbroken, promising, "Te he prometido que te he de olvidar" [I have promised you that I will forget you], but it's clear he's struggling.

He gave his all, saying, "Cuanto has querido, yo te supe dar" [All that you wanted, I knew how to give you], only to be left "Solo y herido" [Alone and wounded]. The toughest part? Knowing his love is marrying someone else tomorrow! But he's convinced she'll regret it, singing, "Llorarás, llorarás por tu capricho" [You will cry, you will cry for your whim]. He truly believes she still loves him and won't find happiness with anyone else because, with him, she "conociste el amor" [knew love]. It's a powerful and a little bit dramatic take on heartbreak and unrequited love!

Have you ever met someone and felt an instant connection, like it was meant to be? That's exactly what Kevin Roldan sings about in "GANAS DE VERTE"! He describes this meeting as an "accidente un poco singular" [a somewhat singular accident], almost as if the universe conspired to bring them together. He's completely captivated, admitting, "Solo se que me fascinas y que muero yooo por ti" [I only know that you fascinate me and that I'm dying for you].

This song is all about that intense, undeniable pull towards someone new. Kevin Roldan even says he gets "cosas raras" [strange feelings] and can't forget her face from the moment he saw it. He knows that love might not be trendy right now, with people preferring "una aventura" [an adventure], but he's ready to change his ways. He even declares, "Contigo se acabo el KR mujeriego" [With you, the womanizing KR is over]! He's just desperate to see her, wondering if he can even last "Otro día mas" [one more day] without her. It's a fun, honest look at falling hard and fast.

“Miami” captures Kevin Roldan’s whirlwind romance with a stunning Colombian woman who grew up between the United States and the Dominican Republic. Set against the glittering backdrop of Miami’s nightlife, the lyrics paint a picture of late-night drives in a Mercedes, star-gazing in Brickell, and splurging on champagne at the iconic LIV club. Roldan can’t help but follow her every move; her magnetic confidence and “culito más chimba” make him feel like a lovesick fool chasing the city’s most captivating muse.

Beneath the flashy cars and VIP tables, the song celebrates Latin pride, big-city dreams, and the thrill of living in the moment. It mixes playful Spanish slang with irresistible reggaetón beats to showcase Miami as a melting pot where cultures, rhythms, and passions collide. Ultimately, “Miami” is a lively ode to seduction and high-energy nightlife, inviting listeners to lose themselves in the heat of the dance floor just as Roldan does in the allure of his Miami queen.

"Perdiste el Control" is a straight-up reggaeton seduction song, and it does not pretend otherwise. It opens with a jab: "No te diste cuenta en qué momento perdiste el control" (You didn't notice when you lost control), aimed at a woman who, as he puts it, "ya ni te importa tu relación" (doesn't even care about your relationship anymore). So yes, she is with someone else, and he is the other guy. He even asks the moon whether this is "amor o una aventura" (love or a fling), which is about as reflective as the song gets.

The rest is pure flex and heat. He promises to show up in the Lambo (Lamborghini) and tells her "ponte bonita" (get pretty), name-drops a Prada dress and Gucci underwear, and packs a "mini Bose" speaker in the suitcase, because apparently the soundtrack matters. The night moves from "el cine" (the movie theater) to "el jacuzzi" fast. Watch for "mami", which here is a flirty way to say babe, not mom, and "to' el día", the clipped Caribbean way of saying todo el día (all day). The chorus, "Mátame las ganas, quítame el aliento" (satisfy my craving, take my breath away), is blunt and catchy, and a bit much if you are listening with your parents.

This song is straight-up about a secret, very physical hookup where both people just want pleasure and nothing else. Kevin Roldan keeps repeating “Tú y yo, baby, haciendo el amor con champaña y tussi” [“You and me, baby, making love with champagne and tusi”], and that sets the whole mood: luxury, drugs, and sex, with no interest in problems, guilt, or consequences. When he says “Envueltos, olvidándonos de lo malo, solo queremos hacerlo y repetirlo” [“Wrapped up, forgetting the bad stuff, we just want to do it and repeat it”], he’s basically saying they use the moment to block out everything negative and just chase the same rush again and again.

The lyrics are very explicit and visual. Lines like “Ella encima-cima, me gusta cómo grita, grita” [“She on top, I like how she screams”] and “Cómo se excita, le doy duro no se quita” [“How she gets excited, I go hard, she doesn’t stop”] focus on the physical details more than any feelings or romance. There’s even a bit of drama when he mentions “Después de que a su novio le colgó” [“After she hung up on her boyfriend”], which makes the encounter feel even more forbidden. Overall, the song is about a wild, risky night between two people who are fully into the desire and repetition of that experience, without worrying about love, labels, or morals.

"TBC (Karma)" is Kevin Roldán leaning into the "what goes around" idea and pointing it at one specific person. He opens by admitting he's been holding back for a while, singing "Ya llevo tiempo" ("It's been a while") before naming exactly what he's after: "Con las ganas de probar los besitos de tu boca" ("With the desire to taste the kisses from your mouth"). By the hook he's decided she's the payback he deserves. "Tú eres mi karma" ("You are my karma"), he sings, "solo pasando por mi lado robas mi calma" ("just passing by me you steal my calm"). It's a small, funny idea to build a whole song around, and he doesn't dress it up.

The second half turns into a daydream. He wants to run off together: "Vámonos lejos" ("Let's go away"), "donde podamos ser felices los dos hasta viejos" ("where we can both be happy until we are old"). Then he admits it might only exist in his head: "Anoche soñé que te encontré y te besé" ("Last night I dreamed that I found you and kissed you"). That's the whole song: wanting someone so much it starts to feel like fate, then waking up to find out it was only a dream.

BYAK is Kevin Roldan doing what Colombian reggaeton does best: a straight-up flirt with zero subtlety. The hook is "Quiero darte una chimba, bebé" (I want to give you something awesome, baby). Chimba is pure Colombian slang. On its own it means something great or amazing, but here it is loaded with a wink, and everyone listening knows it.

He keeps going back to "Como esa noche en el hotel... cuando estabas soltera" (Like that night at the hotel... when you were single), so this is a reunion with someone from his past. "Matemo' bellaquera" (let's kill the horniness) uses bellaquera, Caribbean and Colombian slang for being turned on, and "matemo'" is matemos with the final s dropped, the way it sounds when sung fast.

The party list is very specific: "Tussi, mari y Hennessy" (tusi, weed and Hennessy). Tussi is a pink party drug popular in Colombia, mari is short for marihuana, and Hennessy is the cognac. Then he gets blunt with "Que te rompo completa, bebé, en todas las poses" (that I wreck you completely, baby, in every position). It's a lot. The sweetest line is probably "Tú eres mi fruta prohibida" (you are my forbidden fruit), before everyone ends up "perreando en la esquina" (dancing reggaeton style in the corner). Perrear is the verb for that grinding reggaeton dance, and it's one you will hear in almost every song in the genre.

In “Practícalo (Too Fly)”, Colombian star Kevin Roldán teams up with Dayme y El High, Mackie and Kenai to deliver a flirtatious reggaetón jam that celebrates living in the now. The singers invite a partner to forget any fear of being judged and to leave the past exactly where it belongs. No matter how many partners each person has had, what counts is the sizzling chemistry they feel in the present — one they’re eager to explore through kisses, caresses and irresistible dance-floor moves.

Throughout the song, playful metaphors (doctor and impatient patient, drying sweat, “rico, rico y caliente”) paint a picture of unapologetic desire. The repeated call to practícalo and inténtalo is both a dare and a promise: if they give in to the moment, the experience will be passionate, freeing and unforgettable. In short, the track is an anthem for brushing off insecurities, turning up the heat and enjoying pleasure without regrets.

Kevin Roldan's "Me Gustas" is a super direct and catchy reggaeton track all about being totally smitten with someone! He can't even try to hide it anymore, singing "Por más que trates de ocultarlo, ya no puedo negarlo" [No matter how much you try to hide it, I can't deny it anymore]. He's completely captivated, admitting "Al parecer tú a mí me encantas y no puedo evitarlo" [It seems I'm enchanted by you and I can't avoid it].

He's thinking about this person constantly, saying "De mi mente no puedo sacarte, sencillamente por que me gustas" [I can't get you out of my mind, simply because I like you]. What does he like? Everything! "Tu cabello, tu cara, todo me gusta" [Your hair, your face, everything about you I like]. It's a fun, flirty song where he's imagining dancing with her and making it clear he wants to be close, asking "Cuánto daría por un beso de tu boquita?" [How much would I give for a kiss from your little mouth?]. He's definitely not shy about expressing his desire!

Kevin Roldan's "Mujer Prohibida" is a passionate declaration of love from a man who knows he might not be the

Get ready for a wild ride with Kevin Roldan's "Mamasita"! This track is all about a woman who's completely transformed after a breakup. The lyrics tell us that "Desde que su novio la dejó, no sé, pero algo en mí ha cambiao'" [Since her boyfriend left her, I don't know, but something in me has changed]. And what changed? Well, after she "me probó, se enloqueció" [tried me, she went crazy] and "a la maldad se entregó" [gave herself over to mischief].

She's described as a "mamacita" [hot mama] who's an "adicta" [addict] to doing things "salvaje" [wildly]. The song repeatedly calls her "masoquista" [masochistic] and "bellaquita" [horny], saying "la adicción al sexo la tiene loquita" [the addiction to sex has her crazy]. Kevin Roldan brags about their intense encounters, like when he says, "Qué rico como yo te rastrillé, duro contra la pared" [How good it was how I dragged you, hard against the wall] and how they ended up in a motel "como locos haciendo el amor" [like crazy making love]. He even notes that she "deja su novio por el crack" [leaves her boyfriend for the crack] – implying a powerful, addictive allure. It's a blunt and energetic song about passion and letting loose!

Se Vale To is Kevin Roldan's anything-goes party anthem, and the title says it all: "Hoy se vale to'" (today everything is allowed). To' is just todo (everything) chopped short, the way it's said in Colombian and Caribbean Spanish. You'll see that dropped ending all over the song: "nos vemo'", "nos olvidamo'", "nos matamo'" are vemos, olvidamos, matamos with the final s swallowed.

The story is an on-and-off thing between two people: "Cada ve' que nos vemo', del mundo nos olvidamo'" (every time we see each other, we forget the world), then "después nos desconectamo'" (afterwards we disconnect), and "aunque pase el tiempo, volvemo' y hablamo'" (even if time goes by, we come back and talk). "Nos matamo', nos comemo'" (we kill each other, we eat each other) isn't violent at all; it's slang for a very heated make-out.

Then it gets explicit fast. There's a hotel suite, a phone switched off ("¿Ya le apagaste el cel?", did you turn off your phone already?, cel being short for celular), lingerie, and some pretty graphic lines near the end. He also name-drops party drugs: tusi is the pink powder drug popular in Colombian nightlife, and "me encantan las pastilla'" (I love pills) is exactly what it sounds like. The sweet moment is "tu boquita sabor a miel" (your little mouth tastes like honey), where boquita is the cute diminutive of boca.

Have you ever been so into someone that just one look from them makes your whole body freeze up? That's exactly what Kevin Roldan is singing about in "Contigo" (which means "With You"). He's totally obsessed, saying, "Deberías saber que tan solo una mirada que tú me haces me paraliza el cuerpo" [You should know that just one look you give me paralyzes my body]. He even admits this intense feeling hasn't happened with anyone else in a long time!

This song is all about that overwhelming desire to be with someone. He's practically begging, "Ven dame esta noche, quédate a mi lado, estoy obsesionado contigo" [Come give me this night, stay by my side, I'm obsessed with you]. He wants to spend the whole night and even wake up with this person, convinced they feel the same way. The lyrics are pretty direct about his strong attraction, mentioning how her hair and silhouette make him lose his manners, and how he just wants to get into some "travesuras" [mischief] with her. It's a fun, high-energy track about being completely swept away by someone.

“LOCA” is Kevin Roldán’s playful love letter to a woman whose “craziness” drives him wild. Throughout the song, the Colombian artist marvels at how her look, her walk, and her daring dance moves have him completely hooked. He can’t stop thinking about her all night, and he freely admits that her uninhibited, confident energy is exactly what attracts him. Roldán showers her with sweet compliments—calling her niña bonita—while mixing in flirtatious lines about kissing her, watching her dance in minimal clothing, and wanting to wake up beside her.

Beyond the flirtation, the lyrics reveal a promise of grand gestures and genuine devotion. Roldán paints a picture of luxury trips to Milan and Paris, designer gifts, and even an apartment in the Emirates, all to show that he can treat her better than any ex. The repeated chorus, “Me gustas así de loca,” celebrates her bold spirit rather than asking her to change. In short, the song is a lively blend of reggaeton rhythm, sensual admiration, and over-the-top romance, capturing the thrill of being irresistibly drawn to someone who lives and loves without holding back.

"Cartagena" is a nostalgic, flirtatious reggaeton track from Kevin Roldán and Bryant Myers. The song looks back on a passionate reunion in Cartagena, Colombia, with the two artists trading verses about missing a lover, replaying intimate memories, and how vivid it all still feels, "like it was yesterday."

Beneath the playful, sometimes explicit slang, the core feeling is longing and nostalgia for a specific time and place with someone special, wrapped in the two rappers' laid-back braggadocio.

In "Llano Grande," Kevin Roldan paints a picture of a lavish lifestyle filled with success and confidence. He calls himself a "world star" and dismisses his critics, saying they are now like "fans" waiting for him. The lyrics are full of boasts about his wealth, mentioning a mansion that looks like a hotel, a large property in Llanogrande (a wealthy area in Colombia), and luxury items like Rolex and Cartier watches. He declares that no one can compare to his status as a "gangsta" from Cali.

Amidst all this bragging, the song is also an invitation to a woman he's attracted to. He tells her, "If you like me and I like you, let's go together." He invites her to a secret party at his mansion in Llanogrande, telling her to let her boyfriend know she'll be late because she's with the "multimillionaire from Llanogrande." The lyrics describe his intense attraction, wondering if it's her face, her hair, or her body, but knowing her kisses take him to heaven.

“Una Noche Más” is the musical plea of a man who cannot shake the memory of a past lover. Colombian artist Kevin Roldán teams up with reggaetón star Nicky Jam to spin a story of late-night nostalgia, sleepless longing, and the hope that just one more night could rekindle everything they once shared. Throughout the lyrics he admits he still thinks of her constantly, that nothing feels the same since she left, and that every empty bed reminds him of the way they used to be together.

Instead of wallowing quietly, the singer turns his yearning into a persuasive invitation: if she gives him another chance, he promises passion, fun, and the excitement they both remember. Between rhythmic beats and smooth verses, the song captures the universal tug-of-war between regret and desire, painting love as something that can burn brightly again if only fate allows — for at least one more unforgettable night.

Kevin Roldán and Almighty build the whole song around one line of logic: love is a sickness, and this is the cure. The hook says it outright — "Que tengo la cura pa' su enfermedad" [I have the cure for your sickness] — and then shuts down any romance before it starts: "No digas 'te quiero', no hay necesidad" [Don't say "I love you," there's no need]. It repeats that hook five times, so the point is hard to miss.

The verses spend their time on flash instead of feelings — a Bugatti, sneakers "hasta a Jordan" [all the way up to Jordan], a penthouse with a city view, Hennessy poured out. Roldán turns a game console into a pickup line, "Yo voy a ser tu mostror y tú mi PlayStation" [I'll be your monster and you my PlayStation], and by the last bars he's calling himself "El rey de todas las palabras, cabrones" [the king of every word, you b*tches] — cocky all the way to the outro.

Get ready for a direct and steamy reggaeton track! In "S.E.X.O.", Kevin Roldan and Bryant Myers don't waste any time with subtlety. The song captures a moment of intense, immediate attraction. Fueled by a bit of alcohol, the singer approaches a woman he finds irresistible, admitting he's completely captivated and feels an addictive pull just from the way she looks at him.

The lyrics are a straightforward invitation to a passionate night. The chorus spells it out, literally, claiming the woman gets him higher than any liquor ("Tú me subes la nota, más que el licor"). He uses vivid descriptions to express his desire, comparing her mouth to sweet syrup ("sirope") and their intense encounters to the famous soccer rivalry between Real Madrid and Barcelona. It's a song all about raw physical chemistry and giving in to temptation.

Kevin Roldán is replaying last night, and he is not being subtle about it. The chorus says "Anoche cuando te besé me sentí en el cielo" (last night when I kissed you I felt like I was in heaven), and then gets a lot more explicit fast. There's also a jealous edge: "Ese cabrón te tenía, mami, fría como un hielo" (that bastard had you, baby, cold as ice), so he's bragging that her ex couldn't make her feel anything and he can.

This is a great song for Colombian slang. Qué chimba means "how awesome", mela is "cool", and Medallo is the nickname for Medellín, his city. El tussi is a party drug popular in Colombia, so "el tussi amarillo nos tiene en Marte" (the yellow tusi has us on Mars) is about being very high. Seti and seteao' mean "on point". The ex se rayó (lost it) and still texts her 'I love you' on WhatsApp, which Kevin answers with a blunt English "f*ck you". And in case you forgot who is singing, she says the best is "Kevin", followed by a sound effect: "bofff".

"TU NOVIO ES UNA LOCA" is a boastful reggaeton track where Kevin Roldán and Bryant Myers taunt a woman's current boyfriend, claiming she is happier and more excited with them than she ever is with him.

The verses lean into classic trap bravado: flashy brands, fast cars, money, and a string of comparisons meant to prove the singers are simply better than the competition. It's less a love song and more a victory lap, sung directly at a rival who, in the singers' telling, doesn't stand a chance.

Between the boasts, there's a recurring King Records ad-lib and crew shout-outs, reminding listeners which label and camp the song represents.

"Polanco" is a reggaetón flex track. Kevin Roldán, Dani Flow, and producer Mauro Dembow trade verses about partying in Polanco, an upscale Mexico City neighborhood, and living large: designer clothes, money, and a string of romantic conquests.

The lyrics are unapologetically boastful and explicit, mocking rivals and exes while the artists talk up their own status and swagger.

By the closing lines the song turns into a victory lap, with the artists calling out their own names and their crew, "Los Duracos," as the final flex.

"Perreito En Provenza" is a reggaeton party anthem where Kevin Roldán brags about a night out with money, cars, and a crew that "goes to Provenza" — the nightlife district in Medellín famous for its clubs, rooftop bars, and late-night scene.

The song follows a familiar reggaeton script: a woman who loses control on the dance floor the moment the beat drops, a group of friends chasing the after-party, and a narrator who positions himself as the best in the room. The chorus repeats the night's plan — heading out, dancing hard, and ending up at "the mansion" — while the verses lean into flirtation and nightlife bravado.

Musically and lyrically it's built for the club: short, punchy lines, plenty of ad-libs, and slang rooted in Medellín's party culture rather than storytelling depth.