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

Colombian superstar Maluma brings pure reggaeton heat in "AGUA", a track centered entirely around undeniable chemistry and the rush of giving in to physical temptation. Right from the start, the tension builds through subtle body language with "Tus manos bajando lento una y otra vez" ("Your hands going down slowly again and again") and silent looks that give away the game: "Sin hablar, tus ojos ya me lo dejaron ver" ("Without speaking, your eyes already let me see it"). There is an urgency to stop overthinking and live in the moment rather than dwell on regret, spelled out in the line "Nos podemos quedar con el '¿qué hubiera sido?' / Pero mañana vamos a estar arrepentidos" ("We could stay wondering 'what would have been?' / But tomorrow we are going to regret it").

The central metaphor turns physical desire into an unquenchable thirst that needs dousing: "Agua pa'l fuego, agua, bebé" ("Water for the fire, water, baby") and "se hace agua la boca" ("my mouth is watering"). When Maluma delivers his verse, he keeps the vibe playful and direct. He claims his interest spiked immediately with "Positivo para ti" ("Tested positive for you"), playfully asks to investigate everything about his crush with "flow FBI" ("FBI style"), and promises not to act like a "huelebi" (Puerto Rican and Caribbean slang short for huelebicho, roughly meaning an annoying jerk or fool). It is a straightforward, beat-driven track about acting on attraction before the spark slips away.

Heartbreak usually brings tears, but Colombian star Maluma and Brazilian singer Nego do Borel turn it into a party in "Corazón". Instead of sulking over an ex who was busy "rodando por camas ajena" ("rolling around in other people's beds"), the singer flips the script completely. His response to betrayal is pure comedy: "Tú me partiste el corazón / Pero mi amor no hay problema / Ahora puedo regalar / Un pedacito a cada nena" ("You broke my heart / But my love, no problem / Now I can give away / A little piece to each girl"). It is a cheeky, breezy brush-off where getting dumped simply turns into an excuse to share the love around.

The track mixes Spanish, Portuguese, and English to dismiss the cheater without holding any grudges. Nego do Borel drops the funniest line of the track when he points out that he does not even save cash, so why save bad vibes: "Se eu não guardo nem dinheiro / Que dirá guardar rancor" ("If I don't even save money / Let alone hold a grudge"). By the time Maluma delivers a bilingual send-off with "Ahora te digo goodbye / Muito obrigado, pa' ti ya no hay" ("Now I tell you goodbye / Thank you very much, there's nothing left for you"), the drama is over. He even jokes at the very end about his language skills: "Tchau tchau, eu não sei falar muito bem Português / Mas quero aprender" ("Bye bye, I don't speak Portuguese very well / But I want to learn").

We have all been there: staring at a phone late at night, seeing an ex active online, and making a terrible choice. In "Sobrio", Colombian star Maluma puts the classic drunk dial into a smooth reggaeton groove. He admits right off the bat that he needs liquid courage just to apologize, singing "Pa' pedir perdón tengo que estar ebrio" (To ask for forgiveness I have to be drunk). His pride usually gets in the way during daylight hours, but a few drinks change everything: "Cuando tomo mi orgullo lo mando al demonio" (When I drink, I send my pride to hell).

What makes the track fun is how brutally honest and messy he is about the breakup. He uses the phrase "sobrio no me da" (sober, I can't manage it / sober isn't enough) to explain why he picked up the phone at an ungodly hour to ask if she is alone or still loves him. He even drops some dramatic flair, complaining that while he saw her as marriage material ("te quería para matrimonio"), she is treating their romance like a funeral ("le estás dando a esto un velorio"). It is a catchy, relatable story about pretending to drink to forget someone, while actually drinking just to find the nerve to call them.

In "11 PM", Colombian superstar Maluma tracks a late-night rescue mission hour by hour. It starts at "Once de la noche y todavía no contesta" [Eleven at night and she still doesn't answer], drags on through 1:00 AM, and finally shifts at "Dos de la mañana, me dice que está dispuesta" [Two in the morning, she tells me she's ready]. Maluma sees a girl wasting her tears on someone who ignores her and claims he is busy with "cosas más importantes" [more important things]. He bluntly calls that guy "la nube que no deja ver el sol brillante" [the cloud that doesn't let the bright sun shine] and tells her not to let him dim her light.

His solution? Total luxury and attention. He drops the designer name Christian Dior when bragging that "El cuarto huele a Christian Dior" [The room smells of Christian Dior], using expensive cologne to tempt her away from an unappreciative boyfriend. Maluma lays it all on the line with "Eres muy bonita para llorar por él" [You're too pretty to cry over him] and "No merece que seas fiel" [He doesn't deserve you being loyal]. It is bold, flashy, and very direct: he thinks she looks better riding in his car than sitting around waiting for someone who clearly takes her for granted.

We all know someone who posts luxury vacation photos just to get back at an ex, and that is the exact drama Colombian star Maluma sings about here. He calls out an ex-girlfriend who is currently posing in paradise, hitting her with the sarcastic line "Hawái de vacaciones, mis felicitaciones" ("Hawaii on vacation, congratulations"). Her new guy might seem like a total gentleman ("todo un caballero"), but Maluma insists the romantic posts on Instagram are only meant to make him jealous ("pa' que yo vea", short for para que yo vea, meaning "so that I see"). He even claims a mutual contact caught her crying over him, so he is not buying the online act for a second.

Beneath the breezy reggaeton beat, the track turns into a blunt, slightly petty confrontation about what really happened behind closed doors. Maluma reminds her of how close they used to be ("Tú y yo fuimos uno" / "You and I were one"), recalling mornings together and sharing smoke from a hookah ("Fumábamos la hookah y te pasaba el humo"). He eventually offers an apology if he messed up ("Si te hice algo malo, entonces discúlpame"), but he stands firm on his main point: fancy trips and social media filters cannot buy real love ("el amor no se compra con nada").

Colombian superstar Maluma teams up with KAROL G on "Créeme" (Believe Me), a reggaeton track that sounds like an argument right after a painful breakup. Instead of moving on smoothly, both singers are stuck in that messy phase where one person takes the blame while trying to convince the other to stay. Maluma kicks things off with high drama, wondering how to explain to his own body parts that his lover is gone: "¿Cómo explicarle a mi boca que no la besarás?" ("How do I explain to my mouth that you won't kiss it?"). It is a bit over-the-top, but it drives home the cold shock of an unexpected goodbye.

The real friction comes from their clashing perspectives. Maluma begs for another chance, singing "Te lo suplico / Que te me fuiste y no merezco este castigo" ("I beg you / You left me and I don't deserve this punishment"). Meanwhile, KAROL G hits back with cold realism. She admits they still have feelings, asking bluntly, "Me amas pero ¿de qué me sirve?" ("You love me, but what good is that to me?"). She points out that daily routine ruined their spark: "Yo sí sabía que por la monotonía / De mí te irías" ("I did know that because of the monotony / You would leave me"). The song nails that frustrating feeling when you still love someone, but everyday boredom pulls you apart anyway.

Two Colombian heavyweights, Maluma and J Balvin, team up for a cheeky track about an awkward party situation: running into someone who clearly knows you, while you cannot remember their name for the life of you. Instead of pretending or sneaking away, the lyrics lean straight into the embarrassment with the catchy hook: "Qué pena / Tu nombre no pero tu cara me suena" ("What a shame / I don't know your name, but your face rings a bell"). The vibe is playful rather than apologetic, and the singers turn the memory lapse into an excuse to flirt, telling the girl, "Acércate un poco más... Si te pegas puedes ayudar a que yo te recuerde" ("Come a little closer... If you get close you can help me remember").

The track is loaded with casual Colombian party slang that gives it real character. When Balvin brags that "De todas las chimbitas tu eres la más buena" ("Out of all the pretty girls, you are the hottest"), he uses chimbitas, a classic Colombian word for attractive women. He also mentions having "la verde" ("the green light") thanks to a tip from her friend, while Maluma blames the blank memory on a wild night out where drinks made him lose his mind. It is a smooth, funny dance track about laughing off an awkward moment and turning it into a second chance to meet.

Colombian reggaeton star Maluma brings pure club drama to "Cosas Pendientes" (Unfinished Business). He spots his ex on the dance floor partying with someone new: "Te vi en la disco perreando con otro" (I saw you in the club dancing closely with another guy). But the second the DJ plays their shared anthem, she makes eye contact and laughs. For Maluma, that single look breaks her cover completely: "Ya con eso todo me dijiste" (With just that, you told me everything). Even though she acts distant in front of the crowd ("te haces la antipática" / you act unfriendly), he claims the tension between them is impossible to hide.

The heart of the track revolves around the phrase "quedaron cosas pendientes" (there were unfinished matters left between us), listing promises like romantic dinners and passionate nights that never got settled. Maluma gets cocky, telling her that trying to move on with the next guy was useless because his mark on her is permanent, "como un tatuaje, eso ya no lo borra nada" (like a tattoo, nothing erases that now). He even admits to scrolling through her photos alone late at night. It is a bold, addictive track about catching an ex lying to everyone about being over you when the spark is clearly still alive.

Colombian superstar Maluma teams up with salsa royalty Marc Anthony for this high-energy, brass-heavy version of "Felices Los 4", and the story is refreshingly shameless. Right from the start, a lover sneaks away at dawn: "Apenas sale el sol y tú te vas corriendo" ("As soon as the sun rises, you run off"). Most pop songs would cue the tears right there. Not this one. Instead of getting jealous, the singer shrugs it off with "no me importa un carajo porque sé que volverás" ("I don't give a damn because I know you'll come back"). He does not want a ring, rules, or commitments ("no creo en contratos" ["I don't believe in contracts"]). As far as he is concerned, if she spends her time with someone else, nobody needs to fight about it.

The real punchline is the chorus: "Y si con otro pasas el rato / Vamos a ser feliz... Felices los 4" ("And if you spend time with another guy, we're going to be happy... happy, the four of us"). His math implies that both partners have someone else on the side, and nobody has to feel guilty. He even jokes about making room for everyone with "te agrandamos el cuarto" ("we'll make the bedroom bigger for you"). When the horns kick in and Marc shouts "Ataca Sergio" ("Attack, Sergio"—calling out his bandleader Sergio George), the whole song turns into a dancefloor agreement to ignore outside gossip ("no importa el qué dirán" ["who cares what people say"]) and keep the arrangement strictly fun.

Have you ever tried doing the emotional math after a breakup, only to realize the numbers just do not add up? That is the exact frustration Colombian star Maluma and salsa legend Marc Anthony tackle in "La Fórmula." Maluma admits right off the bat that he is stuck in the exact spot his ex left him, groaning, "No hay una fórmula para olvidar tus besos / Ni una ecuación que el resultado lleve a eso" [There is no formula to forget your kisses / Nor an equation where the result leads to that]. Even after doing all the adding and multiplying, he still winds up in the negative. While his ex moved on fast to what he bluntly calls "un payaso" [a clown], he is keeping his old phone number active, reminiscing about warm winter hugs in New York, and begging her not to move too far away just in case she changes her mind.

What makes this track so much fun is the mix of wounded pride, salsa-infused reggaeton energy, and pure humor. Maluma uses the punchy slang phrase "Está cabrón" [It is really tough / It sucks] to describe how wild it is that time has passed and he is still totally hooked. He even boasts that if she comes back, he will empty his bank account ("Meto mis ahorros" [I will spend my savings]) and hire Marc Anthony himself to sing at their wedding ("Llamo a Marc pa' que le cante en la boda"). Backed by an upbeat groove and a shoutout to musical director Sergio George ("ataca Sergio" [attack, Sergio]), the song turns desperate heartbreak into a full-blown party you cannot help but dance along to.

Colombian reggaeton star Maluma takes the drama out of relationship drama in "Felices Los 4". Instead of crying over someone sneaking out at dawn—"Apenas sale el sol y tú te vas corriendo" ("As soon as the sun rises, you go running")—he simply shrugs it off. He openly admits he does not care if she stays with him or leaves with someone else ("No me importa un carajo porque sé que volverás" / "I don't give a damn because I know you'll come back"). There are no rigid rules, no formal commitments, and definitely no guilt trips.

The real punchline of the track is the chorus: "Vamos a ser feliz, felices los cuatro" ("We're going to be happy, all four of us"). It is a cheeky nod to non-monogamy, suggesting that if both of them are seeing other partners on the side, everyone wins and they can even make room for more ("Te agrandamos el cuarto" / "We'll make the room bigger for you"). Maluma brushes off outside gossip with "No importa el qué dirán" ("It doesn't matter what people say"), leaning fully into an uncomplicated arrangement where pleasure comes first and attachment takes a backseat.

Colombian star Maluma teams up with Mexican singer Carin León for "Según Quién", and the whole track is a sharp, funny clapback against small-town gossip and an ex with an overinflated ego. The narrator is exhausted by the constant rumor mill, singing "Estoy cansado de este lleva y trae" [I am tired of this back-and-forth gossip]. Apparently, word on the street is that he is completely heartbroken, getting drunk in random bars, and screaming his ex's name. His answer? A mocking, direct question: "¿Según quién?" [According to whom?]. He tells her straight up: "Dile al que te está informando / Que te está malinformando / Que te informe bien" [Tell whoever is informing you that they are misinforming you, to get their facts straight].

Beyond just denying the rumors, the lyrics unleash some hilarious and blunt insults. Maluma snaps that while his ex only cared about his credit card ("Tú estabas por la de crédito" [You were only there for the credit card]), his new partner is genuine. He even mocks the gossip by saying he bought toilet paper for all the nonsense she talks ("Pa' esa mierda que tú hablas / Te compré papel higiénico"). He calls himself a fool for giving his all when she cheated on him, using the classic Spanish idiom for infidelity: "tú me pusiste los del toro" [you put the bull's horns on me, meaning 'you cheated on me']. With snappy lines like "Ni que fueras monedita de oro" [It's not like you're a gold coin, meaning 'you aren't loved by everyone'], this track makes it crystal clear that he has moved on while chilling in Mexico.

In "El Vallenato", Colombian star Maluma puts the spotlight on the messy, chaotic side of trying to get over an ex. He admits that as soon as he drinks with his friends, his self-control vanishes: "En la parranda que me quiten el cel porque luego me descacho" ("During the party, someone take my phone because otherwise I'll mess up"). The Colombian slang descacharse means to make a blunder or misstep, and here it means drunk-texting late at night on WhatsApp. He is hurting enough that he breaks down traditional macho pride, admitting "lo de llorar, también es pa' los hombres" ("crying is also for men") and even tells his family to ban her name from the house.

The chorus hits with funny, desperate honesty when he asks: "Si ya hice un doctorado / ¿Por qué el corazón no se ha curado?" ("If I already earned a doctorate, why hasn't my heart healed?"). He claims he feels fine during the day until the memories crash in, leaving pride as the only thin wall stopping him from texting her sober: "Díganle que la extraño / Y que no le escribo por orgullo" ("Tell her I miss her, and that I'm not writing to her out of pride"). It is a relatable, dramatic confession about how brains and willpower mean nothing when you are still stuck on someone.

In "Procura", Colombian reggaeton star Maluma plays the classic role of the confident ex who just checked his former lover's social media and is not buying the hype. He spots her posting captions like "Por fin encontraste alguien que te quiere... no como esos que abandonan" ("You finally found someone who loves you... not like those who abandon you"), and immediately calls it out as a passive-aggressive indirect hit directed right at him. His response is blunt: "Procura no pensar en mí cuando estés en su cama" ("Make sure not to think of me when you're in his bed"), while admitting he has the exact same problem whenever he tries to move on with someone else.

The track is packed with Colombian flavor and smooth cockiness. When Maluma reminisces about their past, he drops authentic Medellín slang, singing "qué chimba la pasábamos" ("what a great time we had"), where chimba means something was fantastic or cool. He also refers to his suave persona, telling her "Vente con Don Juan" ("Come with Don Juan"), asking her to drop the online act because they both know she still craves their old romance over a glass of wine.

Colombian reggaeton star Maluma treats romance like a high-stakes banking transaction in "El Préstamo" (The Loan). Right from the opening request to boost his mic, he makes it clear that someone is about to hear hard truths. He argues that he never gave his heart away forever: "Yo no lo di, yo no lo di, yo lo presté" ("I didn't give it, I didn't give it, I lent it"). Blaming bad experiences in the past where he lost too much in the "game of love," he wants his heart back so he can keep using it elsewhere: "No ves que lo tengo que usar / Contigo y con otras más" ("Don't you see that I have to use it / With you and with others too").

It is delightfully blunt, especially when he jokes that his partner shouldn't forget to pay back the interest ("pagar los intereses"). Instead of offering commitment, he advises her that there are plenty of men out there and suggests she find someone else to fall in love with: "Hombres hay de sobra / Por qué no te buscas quién te ame" ("There are plenty of men / Why don't you look for someone who loves you"). He even drops the classic proverb "Cada loco con lo suyo" ("To each their own," literally "each madman with their own thing") to brush off the drama and keep things moving.

Dans ce morceau reggaeton, le chanteur colombien Maluma et l'artiste brésilien Nego do Borel prennent une rupture avec une légèreté totale. L'histoire commence par une trahison directe : l'autre personne préférait visiblement « estar rodando por camas ajena » (traîner dans des lits qui ne sont pas le sien). Mais au lieu de pleurer, la réponse fuse immédiatement : « Tú me partiste el corazón / Pero mi amor no hay problema » (Tu m'as brisé le cœur / Mais mon amour, il n'y a pas de problème). C'est presque comique : comme le cœur est en morceaux, il y en a désormais assez pour distribuer « un pedacito a cada nena » (un petit morceau à chaque fille).

Le duo mélange espagnol et portugais pour tourner la page sans drame. Maluma balance un joyeux « Ahora te digo goodbye / Muito obrigado » (Maintenant je te dis au revoir / Merci beaucoup) et préfère « andar con gatas nuevas » (sortir avec de nouvelles filles, où le mot d'argot gata désigne une jolie fille). Nego do Borel en rajoute avec une punchline bien trouvée : « Se eu não guardo nem dinheiro / Que dirá guardar rancor » (Si je ne garde même pas d'argent / Alors garder de la rancœur, tu penses bien !). Bref, c'est l'hymne parfait pour ceux qui préfèrent faire la fête plutôt que de ruminer leur chagrin d'amour.

Maluma takes off the superstar mask here to talk straight about real homesickness. Leaving home to chase success sounds great until you are stuck far away, realizing time slipped by while you were gone. He pours out his heart to his mother ("Madrecita, ¿qué es esto que estoy sintiendo?" [Little mother, what is this that I am feeling?]) and admits he is hiding his tears so his grandmother won't worry. The whole track builds around one burning urge: "Solo dile que estoy loco por volver" (Just tell her I am crazy to come back).

He grounds that longing in Colombian pride, especially his home region of Antioquia. He drops the local slang term "parceros" (close friends or homies) when talking about hanging out on his old block, and gets hype shouting "Es un orgullo ser colombiano, pero una chimba ser Antioqueño" (It's an honor to be Colombian, but it's totally awesome to be from Antioquia—chimba is classic Colombian slang for something extraordinarily cool or great). By the end, he dedicates the message to the "pela'itos" (young kids) chasing their own goals, showing that returning home to his family, his neighborhood, and his real name, Juan Luis, matters more than any fame.

In "Corazón" zingt de Colombiaanse superster Maluma over een gebroken hart, maar niet op de manier die je zou verwachten. In plaats van verdrietig te zijn, ziet hij het als een kans! Zijn ex heeft zijn hart gebroken, "Tú me partiste el corazón" (Jij hebt mijn hart gebroken), maar hij antwoordt: "Pero mi amor no hay problema" (Maar mijn liefde, geen probleem). Zijn oplossing? Hij gaat nu gewoon een klein stukje van zijn hart aan elk meisje geven: "Ahora puedo regalar / Un pedacito a cada nena" (Nu kan ik een stukje aan elk meisje geven).

Hij beschuldigt haar ervan dat ze vreemdging en zegt dat het nu zijn beurt is om het spel anders te spelen. Samen met de Braziliaanse artiest Nego do Borel, die een deel in het Portugees zingt, neemt hij afscheid. Ze zeggen letterlijk: "Ahora te digo goodbye / Muito obrigado, pa' ti ya no hay" (Nu zeg ik je gedag / Hartelijk bedankt, voor jou is er niets meer). Het is een speels en zelfverzekerd nummer over hoe je na een relatiebreuk weer verder kunt gaan, misschien zelfs met meer plezier dan voorheen.

Colombian reggaeton star Maluma teams up with pop powerhouse Ricky Martin for "No Se Me Quita," and the entire track is basically a confession about an encounter you cannot wash off your brain. The title translates directly to "It Doesn't Go Away" or "I Can't Shake It Off." They kick things off admitting they are daydreaming about someone they barely even know: "¿No sé por qué te extraño / Si somos dos extraños?" ("I don't know why I miss you / If we're two strangers?"). What started as a quick, stolen kiss quickly escalated into something far bolder—"un poco más descarado" ("a bit more shameless"). Now, the lingering physical sensation is stuck on replay: "El sabor de tu boca / Sigue estando en mi boca" ("The taste of your mouth / Is still in my mouth").

The lyrics lean heavily into feverish, playful metaphors for lust. Maluma jokes that "pa' lo que siento no hay vacuna" ("there's no vaccine for what I feel"), while claiming his partner's beauty is only making the obsession worse. When he delivers lines like "Tú abusas, me usas / Lo sabes, me gusta" ("You take advantage, you use me / You know it, I like it"), he completely surrenders control, admitting he loves being played. There is also a great visual idiom in the chorus: "la mente en la luna / Y los pies en el piso" ("mind on the moon / and feet on the ground"). It describes that dizzy, daydreaming headspace where your body has to go about regular daily life while your brain is floating off somewhere in orbit after an intense night.

Colombian superstar Maluma delivers the ultimate non-apology in "Mala Mía". In Spanish, the phrase "mala mía" literally translates to "my bad," but Maluma does not sound sorry at all. He rattles off a wild list of party misbehavior without blinking an eye: "Me besé a tu novia, mala mía / Me pasé de tragos, mala mía / Me cagué en el party, mala mía" ("I kissed your girlfriend, my bad / I drank too much, my bad / I messed up the party, my bad"). The phrase me cagué en el party uses blunt, vulgar slang that basically means causing chaos or ruining the vibe. Does he care? Not in the slightest. His defense is simple: "Siempre he sido así, todos ustedes lo sabían" ("I've always been like this, you all knew it").

The whole track is a cheeky brush-off to critics who judge his lifestyle. When he sings "Así es mi vida, es sólo mía / Tú no la vivas" ("This is my life, it's only mine / Don't live it"), he tells haters to stay in their own lane. He even spots a girl out with her partner, waits for him to look away, and slides right in: "mala mía si te tumbé el plan con él" ("my bad if I ruined your plans with him"). To Maluma, all the complaints online are purely fake outrage. He shrugs off every bit of hate with a smirk in the final jab: "En el fondo me quieren y por eso me imitan" ("Deep down they love me, and that's why they copy me").

Maluma is completely smitten here, and he wastes zero time playing it cool. Right from the jump, he confesses that he is totally head over heels without even knowing the woman's name: "Me trae enamorado sin saber su nombre" ("She has me in love without knowing her name"). The song runs on pure party energy, bouncing between cheeky pick-up lines and wild party scenes. He literally shows up knocking on her door, claiming "Móntate al trineo, baby, que llegó tu Santa" ("Get on the sleigh, baby, your Santa has arrived"), before dropping a hilarious, unfiltered double entendre about blowing out candles even though it is not her birthday.

What makes the track stick is its heavy dose of Colombian flavor and street slang. When he sings "Con esa boquita me gané el Baloto" ("With that little mouth I won the lottery"), he is referencing Colombia's massive national lottery game, the Baloto. He also throws in local slang like enchulado (hooked or totally in love) and baretico (a joint) alongside tropical drinks like mezcalito and the title drink, coco loco (a boozy beach cocktail served in a fresh coconut). It is sweaty, shameless reggaeton designed for loud speakers, dancefloors, and losing all your inhibitions.

On a tous déjà vécu ce moment un peu gênant où le courage arrive uniquement avec un verre de trop. Dans ce reggaeton doux-amer, la star colombienne Maluma nous raconte exactement ce piège classique : appeler son ex au beau milieu de la nuit parce qu'il l'a vue en ligne. Dès le début, il avoue la couleur sans filtre avec « Ya que sobrio no me da » (Puisque sobre, je n'y arrive pas). L'expression familière « no me da » veut dire ici qu'il n'a pas le cran d'affronter la réalité sans alcool. C'est direct, un brin pathétique, mais totalement honnête.

Le chanteur affirme que « un borracho no miente » (un ivrogne ne ment pas) et balance ses vérités refoulées. Il jure qu'il boit en théorie pour passer à autre chose (« supuestamente, pa' olvidarte »), mais le verre produit l'effet inverse : son orgueil disparaît (« mi orgullo lo mando al demonio ») et il se rappelle même qu'il voulait l'épouser (« Yo te quería para matrimonio »). Au lieu de ça, il a l'impression d'assister aux funérailles de leur couple. Entre regrets sincères et culpabilité d'avoir craqué à une heure pareille, le morceau décrit parfaitement ce coup de fil nocturne que l'on regrette presque aussitôt.

Dans "AGUA", le chanteur colombien Maluma et Shakira montent la température avec un reggaeton ultra direct sur le désir et l'attirance physique. Tout tourne autour d'un jeu de séduction où les regards et les gestes ne trompent pas : « Sin hablar, tus ojos ya me lo dejaron ver » (« Sans parler, tes yeux me l'ont déjà fait voir »). Dès le refrain, l'ambiance devient torride avec la métaphore de l'eau pour éteindre le feu du désir : « Agua pa'l fuego, agua, bebé / Agua, agua yo quiero, agua, que tengo sed » (« De l'eau pour le feu, bébé / De l'eau, je veux de l'eau, j'ai soif »). Le texte joue aussi avec l'expression « se hace agua la boca » (« j'en ai l'eau à la bouche »), soulignant une envie irrépressible d'arrêter les hésitations pour passer à l'acte tout de suite.

Le morceau ne s'embarrasse pas de détours et pousse à vivre l'instant présent pour éviter les regrets : « Nos podemos quedar con el '¿qué hubiera sido?' / Pero mañana vamos a estar arrepentidos » (« On peut rester avec le 'qu'est-ce qui se serait passé ?' / Mais demain on aura des regrets »). Maluma injecte son style familier et urbain en disant vouloir tout savoir sur l'autre « flow FBI » (« en mode FBI »), tout en lâchant de l'argot caribéen très cru : « prometo no ser un huelebi » (promettant de ne pas être un idiot ou un type lourd, dérivé d'une insulte argotique). C'est chaud, rythmé et totalement décomplexé !