Learn Spanish With Nathy Peluso with these 16 Song Recommendations (Full Translations Included!)

Nathy Peluso's "CORLEONE" is a fascinating peek into the mind of someone driven by immense ambition and a touch of melancholy. She opens by telling her friend Tatiana, "Esta ambición me está matando" [This ambition is killing me], revealing the intense pressure she feels. Even with all her success, there's a constant yearning for more: "Y aunque yo lo consiga todo, siempre quiero más" [And even if I get everything, I always want more].

It's not all glamour, though. Amidst counting money and loves, she finds herself smoking a cigarette, experiencing "llanto y pena, gloria y paz" [tears and sorrow, glory and peace]. She even admits to a "pena muy honda" [very deep sorrow] despite having an "imperio" [empire] and a "palacio brillante" [shining palace]. The song ends with a blunt, almost humorous, declaration that even if she died tomorrow, she wouldn't be at peace until she closed deals and left her will to her sister. It's a powerful and honest look at the complex feelings that come with chasing greatness.

Nathy Peluso's "IDEAS RADICALES" pulls you right into the whirlwind of a love that's impossible to quit, even when you know you should. It's all about that magnetic pull to someone who's both your 'pain' and your 'treasure,' as she sings, "Sos mi pain, sos mi treasure."

She's totally hooked, admitting, "Cuando apareces me queda la mente juqueada" [When you appear, my mind gets hooked]. Even though everyone tells her to leave, she just can't bring herself to go, and she's left wondering why this person gives her so much, only to take it away. It's a passionate, almost obsessive love, filled with "ideas radicales, peleas pasionales" [radical ideas, passionate fights] that she just can't forget.

Corashe is Nathy Peluso’s fiery pep-talk to herself and a playful scolding to the timid lover who let her down. Spinning Lunfardo slang, Caribbean rhythms, and fearless braggadocio, she turns heartbreak into a catwalk of power: the needle of betrayal stings, yet she strides back dressed in Versace, mouth “de plata,” ready to melt medals into gold and rewrite her worth. The repeated hook “te hace falta corashe” (“you need more courage”) is both a taunt and a mantra, reminding the ex— and anyone listening — that true boldness comes from facing your own fears, not from hiding in the rain outside her door.

Behind the swagger lies a tender confession: she did love hard, she did sing serenades, and she did crave those quiet moments “pega’itos.” But when vulnerability met indifference, Peluso chose radical self-confidence over longing. By the time she plans her escape to Havana in search of new pleasures, the message is clear: courage is the ticket to stand beside her, and if you can’t find it, she’ll dance on without you. The song becomes an anthem of Latin-flavored empowerment— equal parts kiss-off, celebration, and invitation to grow a braver heart.

DELITO turns the dance floor into a thrilling crime scene where desire is the only law. Nathy Peluso sings from the perspective of someone who knows their attraction is reckless, almost unlawful, yet absolutely irresistible. With every beat she confesses that the chemistry with her partner feels like “un delito” — a crime — as they grind, sweat, and tempt fate under the club lights.

The lyrics paint a picture of two accomplices swapping bites and bold moves, ready to “raspar las rodillas en el cemento” if that’s the price of their secret passion. Peluso plays with danger, calling it a tragedy worth committing and a tattoo she will wear forever. In the end, the song celebrates surrendering to forbidden temptation, turning reckless love into a rebellious, fever-ish dance anthem.

"LA MENTIRA" (The Lie) is Nathy Peluso turning the lie into a glamorous character and then roasting it. The lie "se disfraza de perra empaquetada" [dresses up as a dolled-up bitch], flies business class in Gucci ojotas (the Argentine word for flip-flops) and runs the TV. Against all that noise she offers one piece of advice: "No todo lo que te pesa en el cuello es oro" [Not everything weighing on your neck is gold], her take on "all that glitters is not gold".

The song is packed with references worth decoding. "Los ojitos como Bowie, uno negro y otro azul" [Little eyes like Bowie's, one black and one blue] nods to David Bowie's famously mismatched-looking eyes. Espidifen is a Spanish painkiller brand, so "Nada está del todo fine / Pero tengo Espidifen" is a very funny way of saying "not great, but I have pills". You will also hear River Plate slang everywhere: guita (cash), che (hey), una bocha (a ton) and tu vieja (your mum). The ending is surprisingly sweet: when your mum asks if you are happy, don't lie to her.

"ESCALERAS DE METAL" (Metal Stairs) is a revenge song, and Nathy Peluso does not soften it. She opens with "Por ti he bajado hasta el infierno" [For you I went all the way down to hell], walking down those metal stairs while ignoring every warning sign. Then the tone flips: "Conmigo no se juega" [Nobody plays with me] and "A mí no se me mata" [Nobody kills me off]. These se phrases are a handy pattern for learners: they state a rule without naming who breaks it.

The darkest image is "Vi tus pupilas reflejadas en la hoja del cuchillo" [I saw your pupils reflected in the knife's blade]. Here hoja means blade, not leaf or sheet of paper. She used to give her life for this person, and now "Hoy yo soy quien te la arrebata" [Today I'm the one who snatches it from you]. The chorus ends on something softer and very relatable: how hard it is to understand someone who just doesn't know how to love you.

"MAMÁ" is Nathy Peluso dropping the swagger she is known for and writing a plain love letter to her mother. It opens like a kid talking: "Cuando sea mayor quiero ser tan guapa como tú, tan brillante" (When I grow up I want to be as beautiful as you, as bright). Then the grown-up version admits "Siempre he tenido apuro en crecer" (I've always been in a hurry to grow up) and says sorry for being arrogant.

The descriptions of her mum are lovely and very specific. Her teeth are "como perlas robadas de algún escondite del mar" (like pearls stolen from some hiding place in the sea), her eyes are "zafiro diamante" (sapphire, diamond), and her hair "huele a pasto cortado" (smells like cut grass; pasto is the word for grass in Argentina, where Nathy was born). She calls her a "luciérnaga de la oscuridad" (firefly in the dark), which is why she isn't afraid of being alone. The ending is the sweetest bit: "Si alguna vez me equivoco, mamá, te prometo volver a intentarlo una vez más" (If I ever get it wrong, mum, I promise to try again one more time).

"TODO ROTO" is Nathy Peluso with CA7RIEL & Paco Amoroso turning being a wreck into a flex. The hook says it all: "Me caí, me raspé, escupí, te puteé, y aunque me costó, me levanté con todo roto" (I fell, I scraped myself, I spat, I cursed you out, and even though it cost me, I got back up with everything broken). Putear is Argentine slang for swearing at someone, and the whole song has that Buenos Aires street attitude. It opens with a coach-style yell, "Si te duele, curita" (if it hurts, a band-aid), as in: walk it off.

The verses are packed with references worth knowing. "Le gané a la muerte como Vico C" (I beat death like Vico C) nods to the Puerto Rican rap pioneer, "Vas a tocar en River" (you're going to play River) is the dream of playing Buenos Aires' huge River Plate stadium, and "Control Z, los deshago" (Ctrl+Z, I undo them) is a very online way to erase your haters. Then come Brad Pitt in El Club de la Lucha (Fight Club), Kanye pulling up his hood and Hitchcock in the shower. The best line for me is "Estoy rota, pero estoy buena primero" (I'm broken, but I'm hot first): broken, sure, and still the main character.

"EL DÍA QUE PERDÍ MI JUVENTUD" (The Day I Lost My Youth) is Nathy Peluso being dramatic about growing up, and it works. She is stuck in a room where "No me dejan fumar en la habitación" [They won't let me smoke in the room], and all she wants is to erase from memory the day her youth disappeared. Her fixes get more absurd as the song goes on: a machine to send her back, "una inyección" [an injection] to get it back, even "una máquina del tiempo" [a time machine].

The saddest bit is the quietest. She goes back to her old school gate "Para ver si aún la reconozco" [To see if I still recognise it], then sits on a bench to cry with a cigarette. Look out for valijas, the Argentine and River Plate word for suitcases (most of the Spanish-speaking world says maletas). By the end she has nothing left to lose and decides to write a prophecy and win that day back.

"LA PRESA" (The Prisoner) is a salsa confession with a wicked sense of humour. Nathy Peluso walks up to the police and admits it: "Sí, es verdad que yo maté a ese hombre" [Yes, it's true I killed that man]. The twist comes right after: "lo maté de amor" [I killed him with love]. No gun, no knife. "Fue que le negué mis besos y él se murió por eso" [I refused him my kisses and he died of it].

She is so unbothered that she would rather go to jail than stay with him: "Pa' estar con él prefiero estar tras las rejas" [Rather than be with him, I'd rather be behind bars]. Pa' is the everyday spoken short form of para. She even jokes she will have plenty of conjugal visits and enough cash for bail. The final moral is blunt and a bit much, in the best way: when love doesn't give you freedom, it's a prison, "Hay que matarlo con frialdad" [You have to kill it in cold blood].

"REAL" is a love song written like an outlaw movie. Nathy Peluso opens with "Esto se siente real, nunca tuve algo tan caro" [This feels real, I never had anything so precious], where caro means "dear" or "precious", not just "expensive". Then she plans her getaway: "Te juro que me voy a escapar / Y que si me atrapan, que sea a tu lado" [I swear I'm going to escape / And if they catch me, let it be by your side]. Even if they shoot her, they're too late, because his love is already "en el pecho clavado" [nailed into my chest].

The best part is that she knows it's a bad idea. She swore on her knees she would beat love and never make that mistake again, and here she is: "Es en contra de todo, pero te necesito ahora" [It goes against everything, but I need you now]. In the bridge she calls him flaco and nene, two very Argentine pet names (literally "skinny" and "baby"), and says she's the bullet in his gun. Dramatic? Absolutely. That's the fun of it.

Nathy Peluso's "MAFIOSA" is a powerful anthem where she declares herself a force to be reckoned with. She's not just confident; she's practically daring men to approach her, saying "No cualquiera se me acerca, yo lo sé" [Not just anyone gets close to me, I know it]. She even jokes about the kind of guys out there: "Se rumorea que hay dos clase' de pendejo': El que habla por la espalda y el que se mira al espejo" [It's rumored there are two kinds of idiots: The one who talks behind your back and the one who looks in the mirror].

She's transforming into a "mafiosa" [mobster] not in a criminal sense, but as a powerful, intimidating woman who commands respect. She wants "los hombres malos" [bad men] to fear her when she arrives. Nathy isn't looking for love or an inheritance; she's about her convictions and making her own way. She's tired of men being scared of strong women, asking, "¿Qué mierda le pasa a los hombres Cuando se trata de una mujer?" [What the hell is wrong with men when it comes to a woman?]. By the end, she's fully embraced this new persona, stating, "Ya no soy la mujer que yo era" [I'm no longer the woman I was], and even, "Me dispararon en el corazón Y ahora dicen que soy La mafiosa" [They shot me in the heart and now they say I'm the mobster]. It's all about owning her power and not apologizing for it.

Natikillah is Nathy Peluso’s musical calling card, a big-flavored mix of hip-hop bravado and tropical swagger that shouts “I’m the killah!” before the beat even drops. Switching between English and Spanish, she flaunts her stamina (“yo tengo pila”), her irresistible groove (“yo tengo la grasa”), and her larger-than-life appetite for everything from music to a plate piled high with frijoles, huevo y mayonesa. The chorus keeps challenging listeners—“What you wanna know about me?”—as if daring anyone to doubt her talent or her magnetic presence.

Beneath the playful boasts, the song doubles as an anthem of self-love and liberation. Nathy celebrates her natural body (“con mi celuliti’ y mi fibra grosa”), asks for genuine affection instead of luxury cars, and sings for those who “lucha” every morning. She paints herself as a desert siren who can whip up hurricanes, yet admits past heartbreak and loneliness, making her confidence feel hard-won and relatable. Natikillah ultimately invites listeners to dance away their worries, embrace their imperfections, and claim their own throne with joy and authenticity.

Nathy Peluso and Duki are taking us on a wild ride to "MANHATTAN," a song where they're not holding back! Nathy kicks things off by telling us she doesn't want to be a "víctima de lo que más quiero" [victim of what I love most] or "pobre teniendo dinero" [poor having money]. She's feeling the pressure and the criticism for her "modales" [manners], but she's got "dotes muy especiales" [very special gifts]. She even jokes about people talking smack, saying "Y eso que no tengo las tetas hecha'" [And I don't even have my breasts done yet]! It's clear she's got people wrapped around her finger, asking "¿Pa' qué quiero una, si puedo tener dos?" [Why do I want one, if I can have two?] and boasting that she has "a los tipo' comiendo en mi mano" [guys eating out of my hand].

Both Nathy and Duki are dreaming big, imagining life in Manhattan while watching everyone "se pelean por mí y se matan" [fight over me and kill each other] on Twitter. Duki joins in with his own swagger, describing his closet as looking like Manhattan with "Montañas de ropa tan altas como un rascacielo" [Mountains of clothes as tall as a skyscraper]. He compares himself to George Clooney in Ocean's Eleven, closing deals in a suit and sunglasses. He's got a blunt message for his critics, calling them "muñeco' de colección" [collector's dolls] who "pierden el valor si los sacan de su caja" [lose their value if you take them out of their box]. It's a fun, confident anthem about rising above the haters and living large, with a touch of humor and a whole lot of attitude!

La Sandunguera is Nathy Peluso’s vibrant calling card, a song where she proudly stamps her identity on the beat and names it “mi jazz latino.” Over the chant-like chorus, she mixes salsa heat, jazzy swing, hip-hop attitude and playful word-play to declare: I am a rich Latin American girl, strong, creative and completely in charge of my groove. She turns everyday images—pineapple juice, Bandana underwear, a steaming pot of Bolognese—into symbols of her bold femininity, while playful threats with a “katana” remind everyone that her power is not to be underestimated.

In the second half she climbs a metaphorical mountain, thanks life, protects her family and rejects anyone who tries to buy her art with money. La sandunguera is the real deal: joyful, grateful and fiercely independent. The song’s message is simple and irresistible: celebrate your roots, trust your own flavor, share it with the world and never let anyone dull your salsa-spiced shine.

Nathy Peluso's "Business Woman" is all about owning your power and success, especially as a woman in a world that might underestimate you. She's not just talking the talk; she's walking it, making it clear from the start: "Don't play with my eyes / 'Cause if you play with my eyes / You will quemar" [burn]. She's a force to be reckoned with, a "business woman" who's been making money since she was born, "Hago guita desde que nací bien piola" [I've been making money since I was born, really cool].

This song is a bold declaration of independence and self-worth. Nathy Peluso is confident, sexy, and completely in control. She's got "boca jugosa y la mente dura" [a juicy mouth and a hard mind], and she's not afraid to use her wit and charm to get what she wants. She even jokes about having guys on their knees in the kitchen, "Te tengo en la cocina arrodillado moliendo ajo" [I have you in the kitchen kneeling, grinding garlic]. It's a fun, fierce anthem for anyone who's ready to take charge and show the world what they're made of!