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

This song drops you right into the middle of a sudden breakup. It only took one night for his partner to decide she was done. She says she's "cansada / Muy agotada" (tired / very exhausted) and, to put it bluntly, tells him to get lost. The singer tries to act cool about it, promising "No habrá reproches" (There will be no reproaches), but he immediately takes it back with a funny, honest line: "Bueno, no prometo nada" (Well, I don't promise anything). He knows exactly what he's going to do: get drunk and blow up her phone.

The whole mood shifts to pure heartbreak in the chorus. He asks, "¿Por qué se siente tan extraño / Llegar y no sentir tus labios?" (Why does it feel so strange / To arrive and not feel your lips?). It's that empty feeling of a broken routine. He admits he doesn't smile anymore and begs her to run away with him from this "mundo extraño" (strange world). The song's title, which means "Damage," comes from the final, killer line: "Te amo aunque me hagas tanto fucking daño" (I love you even though you do me so much fucking damage). He knows the relationship hurts him, but he can't let go.

This song is all about the pain of staying away from someone you still love. The singer has decided that distance is the only answer, saying, "De lejos es mejor / No por mí, esto es por los dos" [It's better from a distance / Not for me, this is for both of us]. He's trying to be strong, but his own mind is working against him.

He describes being lost in his thoughts as "Nado entre lagunas de mi mente" [I swim in the lagoons of my mind], which is such a cool way to say he's drowning in memories. These mental lagoons are filled with daydreams of what it would feel like "Volver a besar tu frente" [To kiss your forehead again]. He even imagines a different reality where things worked out, wondering, "Tal vez en otra galaxia sí fue diferente" [Maybe in another galaxy it was different]. It's a sad but beautiful look at a love that can only exist in his imagination.

Ever felt so far away from someone that you wished you could send a message through the moon? That's exactly what Peso Pluma and Junior H are doing in this song. The singer is talking directly to the moon because it's the only thing that can still watch over someone he's lost. He asks it, “Luna, dile tú / Que tú eres la única que la puede mirar” (Moon, you tell her / That you're the only one who can see her).

He reveals that she has moved on with someone else, saying “Que tú ya estás con otro y espero te cuide bien” (That you are already with someone else and I hope he takes good care of you). Instead of being bitter, he asks the moon to protect her. He knows she won't see him again, but the moon will always be there as a silent guardian. It's a really beautiful and sad way to say you still care about someone from a distance.

Peso Pluma's "Lo Que Me Das" is a super direct and sweet love song. The singer is completely head-over-heels for someone and isn't afraid to show it. He makes huge promises, saying if she asks for the world, "hasta la luna te traigo" (I'll even bring you the moon). He sees her as royalty, calling her "una reina una linda princesa" (a queen, a pretty princess), and is totally captivated by her, describing her as "un hechizo todo de ti me hipnotiza" (a spell, everything about you hypnotizes me).

What's cool is how he mixes this classic romance with his own style. He describes himself as "Bien tatuado enamorado" (Heavily tattooed and in love), letting you know that even a tough guy can be completely devoted. He says she has improved his life, that she "limpiaste mi camino" (cleared my path). The song is all about what she gives him: "amor y lealtad" (love and loyalty), and in return, he promises to be her one and only guy.

This song is all about trying to convince someone to leave their rich, but boring, boyfriend. Peso Pluma and Grupo Frontera sing to a woman who is a total "diez" [a ten], but she's with a guy who just isn't on her level. The boyfriend takes her on fancy vacations to places like Tulum, but the singer knows her heart isn't really in it. He says, "sé que tu cora no te hace turum turum" [I know your heart doesn't go boom boom]. It's a great line that gets right to the point: all the money in the world can't buy real excitement.

The singer argues that what he offers is much better. While the other guy has money, he gives her something more valuable. He contrasts them directly: "Él te compró un Rolex, pero yo te di mi tiempo" [He bought you a Rolex, but I gave you my time]. He's confident he can make her feel things that last, even if they're just hanging out in his apartment instead of a mansion. He tells her to just leave the old boyfriend, using the fantastic metaphor, "Que la comida se enfría / Cuando se descuida" [That the food gets cold / When it's neglected]. He's basically saying her boyfriend took her for granted, and now he's here to give her the attention she deserves.

Peso Pluma isn't just flexing on this track; he's telling you the whole story. He starts by listing all the signs of success: the fast life, important meetings, and spending "Veinte mil como si nada" (twenty thousand like it's nothing). It seems like a classic brag track, but then he pulls you in, saying, "Siéntense, les voy a contar / Lo que no sabían de mí, toda la verdad" (Sit down, I'm going to tell you / What you didn't know about me, the whole truth). He gets surprisingly personal, talking about being arrested at fifteen and getting kicked out of his house. The image of him wearing "Doble pantalón para aguantar los cintarazos" (double pants to withstand the belt whippings) is a really specific and tough detail that shows the difficult road he took to get here.

This isn't just a story about the past, though. The chorus, "No quiero acostarme, no puedo dormir" (I don't want to go to bed, I can't sleep), shows he's still restless and driven. He's walking through Hollywood, the very symbol of his success, but he's still thinking about everything it took to arrive. Estevan Plazola's verse adds a darker layer, suggesting a heavy price for fame when he says, "firmé con el diablo" (I signed with the devil). The song paints a picture of a man who has achieved his dreams but can't forget the struggle or stop pushing forward.

Peso Pluma gives us the ultimate breakup send-off in this modern corrido tumbado track. He is stuck in that messy in-between phase of moving on: he admits he still thinks of his ex's facial expressions when he runs into someone else ("Sigo pensando en tus gestos cuando se me cruza otra" [I keep thinking of your expressions when I run into another girl]), but he refuses to look back. Instead, he deals with the split by smoking, drinking wine, and distracting himself with "princesas" (princesses / other girls). He lays his pride bare with Mexican slang, bluntly confessing that "al chile, sí me dolió" ([to be completely honest / brutally real, it really hurt]).

Even while admitting the pain, he knows staying together was bad news: "estar contigo ya no me convino" ([being with you didn't suit me anymore]). He drops another great piece of casual Mexican slang, "la neta" ([the truth / honestly]), to make it clear that her kisses do not matter to him now ("a mí tus besos ya no me interesan" [and your kisses don't interest me anymore]). It is an honest, bittersweet tune about accepting that the love ended, taking your hits, and simply telling an ex, "bye."

Ever tried to forget someone but found yourself calling them late at night? That's exactly where this song starts. Peso Pluma admits, "Prometí que iba a olvidarte / Pero me fallé" (I promised I would forget you / But I failed myself). He's stuck in a loop, feeling weak and reaching out, even though he knows he shouldn't. It's a classic post-breakup struggle, where your heart says one thing and your head says another.

But then the mood completely flips. The singer declares, "A veces no me entiendo, soy bipolar" (Sometimes I don't understand myself, I'm bipolar), describing his wild emotional swings. One minute he's heartbroken, the next he's decided to focus on himself and his career, saying he'd rather "hacer dinero / Que malgastar mi tiempo con puros cuentos" (make money / than waste my time with pure stories). This back-and-forth between wanting love and wanting to be independent is what makes the song so relatable and gives it its name.

Peso Pluma gets straight to the point in "Tu Con El". He's remembering a wild night with someone who's already in a relationship. He recalls "esa noche loca que pasamos encerrados" (that crazy night we spent locked up together) with her phone on airplane mode, totally cut off from the world. It's clear this isn't a one-time thing, as he sets up another meeting: "Te miro a las diez como la otra vez" (I'll see you at ten like the other time).

He lays out the rules of their secret affair with some incredibly blunt lines. He doesn't care about her boyfriend at all. He sings, "Me vale madres saber qué haces tú con él" (I don't give a damn what you do with him), as long as she still makes time for him. He even says he's fine with her sleeping with her partner, so long as she's also with him. It's a bold and direct take on a complicated situation, where he's willing to play the game just to keep seeing her.

Peso Pluma's "Gervonta" is a straight-up flex about living a life of extreme luxury and danger. He lays out a scene full of beautiful women who like to party, describing a brunette who "no se sabe comportar" (doesn't know how to behave) and is always "high". The whole vibe is about moving smoothly but secretly, like "pez en el agua... bajo el radar" (a fish in water... under the radar), while adopting a persona he calls "Modo Al Capone, mafiosón" (Al Capone mode, mafioso-like).

The song is basically a list of all the cool, expensive, and slightly illegal things he's doing. He's getting paid in cryptocurrency, flying on private jets, and watching the boxer Gervonta Davis from the front row in Las Vegas. The imagery gets pretty wild, mixing hedonism with a clear threat: "Morras en yacusi, los plebes con Uzi y SCAR" (Girls in the jacuzzi, the boys with Uzi and SCAR). It's a snapshot of a fast, high-stakes lifestyle where the party never stops and money is no object.

This song is a conversation between two people at the very end of a relationship. Peso Pluma starts by remembering specific, intimate details about his ex-lover: "El olor de aquel perfume" (The smell of that perfume) and "Las sábanas blancas donde te escondías dentro" (The white sheets where you hid inside). He sees her as a precious, untouchable jewel, but the memories are painful because he knows it's over. The main thought is simple and sad: "Y pensar / Que tú ya no vas a estar" (And to think / That you won't be here anymore).

Nicki Nicole’s part adds the other side of the story. She looks him in the face, knowing, "Esta va a ser nuestra última vez" (This is going to be our last time). She asks a question that hangs in the air: "Dime de qué vale irnos si queremos volver" (Tell me what's the point of leaving if we want to come back). It seems like neither of them is sure why it has to end, and they're left feeling like everything they shared "Fue para nada" (Was for nothing).

Peso Pluma is here to set the record straight. In "VVS," he's talking directly to everyone who judged him before he made it big. He says people humiliated him without knowing who he was, "Juzgan a la gente por el billete que ganó" (They judge people for the money they earn). Now, he's turned the tables on them. The song is a huge flex, listing off all the luxury goods he's bought with his hard-earned cash: VVS diamond chains, Gucci outfits, a collection of Rolex and Cartier watches, and his dream truck. He's not shy about it at all.

But he pushes back against anyone who calls him a show-off. His defense is simple and direct: "Yo sólo disfruto de las cosas porque jalo un chingo" (I just enjoy things because I work my ass off). Beneath all the expensive brands, he insists he's still the same guy who values what really matters, like "La lealtad de un buen amigo" (the loyalty of a good friend). He has a very blunt message for the fake friends who only call him now that he's successful, saying he answers the phone just "Pa' mandarlos a la verga" (To tell them to f*** off). He's all about staying loyal to the people who were there for him from the start.

This song is a perfect example of trying to act tough after a breakup while you're actually falling apart. Peso Pluma and Iván Cornejo go back and forth between bragging and admitting their pain. One minute, they're all about moving on: "Fiesta, amigos y unas morras pa' salir" (Parties, friends, and some girls to go out with). They even claim, "Ya te borré de todos lados" (I already deleted you from everywhere), which is the ultimate modern breakup move.

But then, the mask slips. They confess the truth: "El tiempo pasa y no se pasa este dolor" (Time passes and this pain doesn't pass). The whole song is built around this idea that time has stopped since the relationship ended, with the line "No entiendo por qué el tic-tac del reloj paró" (I don't understand why the ticking of the clock stopped). It's a sad, honest look at heartbreak, where you tell everyone you're fine but at night you're just staring at your phone, sinking into depression.

Peso Pluma's "Por Las Noches" is a late-night message to a lover who is gone. He's alone, remembering everything about her, especially "El olor de aquel perfume sobre todo" (The smell of that perfume above all). He recalls intimate moments, like her hiding in "Las sábanas blancas" (the white sheets), and sees her as something precious and out of reach, "intocable como joya de oro" (untouchable like a golden jewel).

He's trying to move on by living a high life, mentioning "Clase Azul es el tequila" (Clase Azul is the tequila) and "Rico Prat champaña" (Rich Prat champagne). But it's clear his mind is still on her. He's so hurt that he begs her, "Si te sientes sola no me llames porfa" (If you feel lonely please don't call me), because he gets too sensitive. It's a sad song about trying to forget someone you believe is irreplaceable, when all the distractions in the world can't fill the space they left.

Peso Pluma's "NUEVA VIDA" is all about leveling up and starting a new chapter. He kicks things off by saying, "La noche ha llegado, ya estoy preparado" (The night has arrived, I'm ready), setting a mood that he's ready for whatever comes next. He talks about being young—just twenty-three—and already hustling hard, but he makes it clear he's staying grounded. He values his real friends, the ones who were there from the start, saying he's "Siempre al cien con los que me echaron la mano" (Always 100% with those who lent me a hand).

This isn't just a song about getting famous; it's about a change in mindset. He says, "Hoy todo ha cambiado, no voy a negarlo" (Today everything has changed, I'm not going to deny it) and that he's building "Una nueva vida la que me estoy dando" (A new life is what I'm giving myself). With this new life comes new problems, like envy from other people, but he's not worried. He trusts in time, his close friends, and the guidance of his late father, who he believes is watching over him from heaven. He ends by saying he keeps a low profile, "así nadie me busca" (so nobody looks for me), which is his strategy for navigating his new success without attracting trouble.

Peso Pluma gives us a look into a life of hustle and loyalty in "La Melena". He starts by telling us he's always been a risk-taker, someone who loves a thrill: "Era desmadroso, se metía en problemas, le encanta la adrenalina" (I was a troublemaker, got into trouble, I love adrenaline). But things have changed. Now, the focus is squarely on making money and holding on tight to the opportunities they have.

This isn't just a song about getting rich, though. There's a strong sense of looking out for his crew. He mentions missing his friends who are locked up, saying "Pronto saldrán del encierro" (Soon they'll get out of confinement). The title itself comes from a really interesting line: "La melena la dejamos por el león en cautiverio" (We left the long hair for the lion in captivity). It's a powerful image of sacrifice and respect for an imprisoned leader. He mixes these serious themes with flashes of his lifestyle, like cruising in San Diego, smoking a good joint, and repping brands from Culiacán, a city in Mexico known for this kind of culture.

Peso Pluma kicks this song off by talking directly to God, which is a bold move. He says, "Dios, no quería desvelarme, y aquí ando en el desmadre" (God, I didn't want to stay up late, and here I am in this mess). He's in the middle of a wild scene where he can't even feel the effects of drugs or alcohol anymore, but he's also thinking about his mom's prayers. It's this constant back-and-forth between a dangerous lifestyle and his faith that makes the song so compelling.

He talks about "Cosas del jale que no entiende nadie" (Things from the job that nobody understands), suggesting a secret, misunderstood line of work. The most intense image is when he says, "Me escondo el rosario bajo de la camiseta para envenenarme" (I hide the rosary under my shirt to poison myself). He keeps his faith physically close but hidden while doing things he knows are wrong. He seems convinced he'll be forgiven by "el jefe" (the boss), which could mean God or a more literal boss. It's a look inside the head of someone living a life of contradictions, trying to balance sin and salvation.

Peso Pluma's "RARI" is a pure celebration of living the high life. The whole song feels like a snapshot from an endless party. He's not thinking about the past or the future, just enjoying the moment with expensive cars, women, and weed. He tells us he's rolling around "En la Cadillac o en el Ferrari, rari, rari" [In the Cadillac or in the Ferrari] and that his luck has turned, saying "La ruleta ha girado / La suerte de mi lado" [The roulette has spun / Luck is on my side].

This isn't a quiet kind of success. It's loud and flashy, from the big Cuban link chain from celebrity jeweler Eliantte to the constant parties. He's always got a girl with him because "Todo es mucho mejor" [Everything is much better] that way. The party never stops, either. As soon as one joint goes out, the instruction is "préndanse otro de mari, mari, mari" [light up another one of mari(juana)]. It's a simple, direct song about having money and a good time.

Peso Pluma's "London" is a whirlwind tour of a life lived at maximum volume. He's not just rich, he's on another level, bragging, "Aquí es Ferrari, no Mercedes-Benz" (Here it's Ferrari, not Mercedes-Benz). The song is packed with hyper-specific details of this luxury, from dining at Boutary in France before jetting off to London, to drinking super-expensive Louis XIII cognac out of a simple red cup. It's a lifestyle of pure excess, where he declares, "El exceso me llama" (Excess calls to me).

But it's not all champagne and designer watches. There's a constant edge of danger and power. He casually mentions "Al tiro las armas largas" (Long guns at the ready) and compares his crew to James Bond. He even compares himself to King Midas, turning everything he touches to gold. The boasts get wild and funny, like when he offers to buy a woman her own OXXO convenience store. It's a snapshot of a man who feels untouchable, living a life that's part action movie, part luxury catalogue, and 100% over-the-top.

This song is a straight-up party anthem about a wild night out. It kicks off with a girl who just had a fight with her boyfriend: "Hoy discutió con el otro, me la dejó servida" (Today she argued with the other guy, left her served up for me). So what does she do? She calls up our singer, and they head straight for the club after some tequila.

The whole track is about the energy on the dance floor. The main word, "bellaqueo," is slang for getting flirty and heated while dancing. Anitta's verse makes it clear she's in charge and feeling herself, telling the DJ to "súbele al perreo" (turn up the perreo). It's all about that intense, dangerous feeling when you're dancing with someone you have major chemistry with. As Anitta says, "cuando tú lo mueves así / El ambiente se pone peligroso" (when you move it like that / The atmosphere gets dangerous).

Peso Pluma kicks off this track by looking back at his success, almost in disbelief: "Miren, ¿quién lo pensaría? / El muchacho se fue pa' arriba" (Look, who would have thought? / The boy went to the top). He insists he's still the same guy, even though his life has changed and the media is buzzing. The song paints a picture of a life full of ambition, danger, and new luxuries. He mentions escaping trouble "andando en la patrulla" (riding in the patrol car) and being kept awake at night by his own drive to succeed. This isn't just a celebration of making it; he also calls out the "doble cara" (two-faced people) that success attracts.

Amidst all the talk of his come-up and loyalty to a mysterious mentor whose name is "prohibido decir" (forbidden to say), the song suddenly switches gears. He breaks the tough narrative to call a woman he's into, telling her "Me muero si tú no estás" (I'll die if you're not here) and asking her to call his cell. It's a classic Corrido Tumbado mix of street life, ambition, and a soft spot for romance, all set to a beat that makes you want to cruise with the windows down.

Peso Pluma and Tito Double P are not holding back in "Dopamina." The song is a full-on dive into a life of extreme luxury and pleasure seeking. The title itself is the key: they're chasing anything that gives them that chemical rush. The track kicks off by setting a wild party scene with a "Vaso rojo, loquerón" [Red cup, craziness] and "Polvo pa' la adrenalina" [Powder for the adrenaline]. It's all about activating a certain lifestyle.

From there, it's a list of what gets the dopamine flowing: designer clothes, international travel from Rome to Dublin, and extremely expensive accessories like a diamond-covered Richard Mille watch. A major theme is his attraction to women, calling them his addiction: "La neta, las niñas, mi adicción / Me elevan la dopamina" [Honestly, girls, my addiction / They raise my dopamine]. He boasts about being seen with actresses and paying for whatever he wants without asking the price. There's also a darker, mysterious side to this wealth, as he mentions moving a lot of money and that "Todo es encriptado" [It's all encrypted], leaving you to wonder exactly where all this cash comes from.

Peso Pluma's "ZAPATA" is a classic corrido tumbado flex, all about a life that's completely transformed. He lays out his new reality, which includes collector's items like a "superón / Que es edición limitada" (a limited edition pistol) and drinking fancy Perrier water. It's a big change from his start, when he says, "Comencé allá en la frontera" (I started there at the border). Now, he's got "Oficinas en LA" (Offices in LA) and drives a Lamborghini Urus while smoking weed.

He paints himself as a serious, mysterious figure who has survived a dangerous world, boasting, "Me muevo en la lumbre y todavía no me he quemado" (I move in the fire and I still haven't been burned). He's not messing around: "somos hombres, no payasos" (we are men, not clowns). The song is a straightforward declaration of success, showing how he went from a risky start to a life of extreme luxury, all while staying one step ahead of the danger.