Learn Spanish with Corrido Tumbado Music with these 23 Song Recommendations (Full Translations Included!)

"Bebé Dame" is an upbeat, catchy team-up where Fuerza Regida and Grupo Frontera lean into a bouncy cumbia groove to win an ex back. Right from the opening shout of "Fierro" [Let's do this / Fire away], a classic northern Mexican slang term used to hype everyone up, the track sets a lively mood for what is essentially an urgent love plea. The singer admits things got messy, calling their relationship "una guerra en el amor" [a war in love], but he is not ready to walk away. Instead of moping in private, he turns up the charm and begs for one more chance.

The lyrics do not waste time playing it cool. He goes straight for what he wants, demanding affection with "Bebé, lo que te pido, ven, dame" [Baby, what I ask of you, come, give it to me] because he cannot stand another sunrise without seeing her. Between writing poems to win her over and promising "yo lo hago diferente" [I do it differently], the narrator makes his case as directly as possible: "No sales de mi mente" [You don't leave my mind]. It is bold, fun, and packed with everyday phrases you will hear all over Mexican Spanish.

Junior H goes full sad-boy mode in "Y LLORO", a classic corrido tumbado heartbreak track where he is left staring at an empty inbox. He tells us straight up: "No hay mensajes de mi amor / Esa niña ya cambió" ("There are no messages from my love / That girl already changed"). She gave him one quick kiss, walked out the door without explaining why ("Te fuiste sin dar razón / Me dio un beso y se marchó"), and literally left his feelings behind: "El cora que te regalé / Lo dejaste en mi casa" ("The heart I gifted you, you left at my house"). Note that cora is short Mexican slang for corazón (heart), perfectly setting that casual yet bruised tone.

Now, his nights are spent drinking and trying to keep it together while secretly begging for her to come back. The chorus hits hard with "Y lloro / Baby, te juro que me siento solo" ("And I cry / Baby, I swear that I feel alone"). Someone on the outside tells him "no será pa' tanto" (a common idiom meaning "it's not a big deal"), but he is stuck pretending it doesn't hurt while fighting back real tears ("Haciendo como que no duele tanto"). It is a brutally honest track about that specific sting when you gave everything to someone, and they simply moved on without a backward glance.

"No Es Mentira" by Los Primos del Este drops you straight into the brain of someone completely infatuated and incapable of playing it cool. The track blends the smooth rhythms of corridos tumbados with blunt, flirty confessions. Right from the start, the singer makes his feelings undeniable: "Decirte que no quiero besarte es mentira" [Telling you I don't want to kiss you is a lie]. He puts his crush on a pedestal compared to everyone else ("Las otras no son igual que tú" [The other girls aren't like you]), claiming they do not have her specific spark or attitude. He is fully hooked, ready to follow her anywhere and spend "un millón de años junto a ti" [a million years next to you].

What makes this track fun is the honest, everyday Spanish slang packed into the lyrics. When he sings "ya te traigo ganas" [I've got a craving for you / I'm into you], he is using a very common colloquial phrase for strong physical attraction. He gets bold enough to sing "enséñame en la cama" [show me in bed], immediately catching himself and apologizing with "Discúlpame si fuerte se escuchó" [Excuse me if that sounded too strong]. It balances bold swagger with sweet moments, like asking for "besitos pa' dormir" [little kisses to fall asleep] and melting over how she smiles back at him ("me matas cuando me sonríes pa' atrás" [you kill me when you smile back at me]). It is a direct, playful love song with zero filter.

Mexican artist Peso Pluma and Jasiel Nuñez bring a melancholic, starry-eyed vibe to this corrido tumbado. The narrator starts by noticing that the moon is giving off good energy ("Esta noche hay luna que dio energías buenas"), but he still feels weighed down by a lingering heartache. His solution to getting over this past relationship is going completely cold turkey. He sings, "No la veo por abstinencia / De tenerla cerca, me puse una meta" ("I don't see her out of withdrawal / From having her close, I set a goal"). It is a dramatic, self-imposed rule, but he insists that staying away is better for both of them, not just himself ("De lejos es mejor / No por mí, esto es por los dos").

The emotional core of the song plays on the literal and figurative meaning of the title word, lagunas. In Spanish, the phrase lagunas mentales means memory gaps or blackouts. Here, he turns it into a vivid metaphor for overthinking: "Nado entre lagunas de mi mente / Que se hacen por saber qué se siente / Volver a besar tu frente" ("I swim through gaps in my mind / That form from wondering what it feels like / To kiss your forehead again"). Instead of accepting that the romance is over, he looks past the Earth entirely, daydreaming that maybe in another galaxy they actually got what they always wanted ("Tal vez en otra galaxia sí fue diferente / Tal vez ahí sí se nos dio lo que quisimos siempre"). It wraps up with their signatures, including Peso Pluma's famous nickname, Doble P (Double P).

Junior H gives us a late-night brain dump in "MIENTRAS DUERMES", stuck between living out his dreams and obsessing over an ex. While she is peacefully asleep in bed, he is out in crowds sipping Blue (a nod to Johnnie Walker Blue Label) and living the rockstar life he promised his mom. But the party is not working. He admits he cannot shake his depression with the casual line "No salgo de la depre" [I can't get out of this depression], spiraling over the thought of another guy getting close to her.

He uses great Mexican slang to show how tired and stuck he feels, admitting "la neta ya perdí la cuenta de cuánto meses" [honestly, I've already lost count of how many months]. La neta is everyday street talk for "the truth" or "honestly." Even though he claims "lo de nosotros se murió pronto" [what we had died quickly], he still feels broken (roto) and alone (solo) because he gave her everything while she held back. It is a messy, honest look at fame not being enough to fix a bruised heart.

Mexican corrido tumbado star Peso Pluma teams up with Tito Double P on "Daño" to talk about a sudden, messy breakup. It took just one night for things to fall apart: "Sólo una noche bastó pa' que me dejara" [Just one night was enough for her to leave me]. The ex is totally fed up, telling him "que a la chingada" [to go to hell], an extremely common Mexican swear phrase to say you are completely done. He promises not to blame her, but immediately admits he cannot keep his word: "Tal vez hoy tomo y ya bien loco / Te fundo el cel, la llamada" [Maybe today I'll drink and, once I'm crazy drunk, I'll blow up your phone with calls]. The Mexican slang phrase fundir el cel literally means to melt or burn out the phone, meaning he plans to spam her with late-night calls until the device practically overheats.

The chorus hits with the weird emptiness of coming home to a quiet house: "¿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?]. He is soaking handkerchiefs in tears ("Llené de lágrimas el paño" [I filled the cloth with tears]) and stopped smiling. Even though he begs her to take his hand and escape this strange world together, he drops the ultimate toxic confession right at the end: "Te amo aunque me hagas tanto fucking daño" [I love you even though you hurt me so fucking much]. It is chaotic, drunk-dialing energy wrapped up in a heartbreak track.

This song kicks off with such a sweet image! Peso Pluma remembers seeing his ex for the first time: "Como un ángel, llegó por mi desde el cielo" (Like an angel, she came for me from heaven). He was completely in love, longing for her "boquita roja" (little red mouth) and kisses. It sounds like a perfect romance, right? Well, things take a sharp turn.

Suddenly, he flips the script. He admits, "De veras que te extraño aquí / Pero ahora estoy mejor sin ti" (I really miss you here / But now I'm better without you). He says he's changed into a "Parrandero, mujeriego" (Party animal, womanizer) and blames the relationship for it. He claims he's not the person she used to like anymore, but insists, "No fue por mí" (It wasn't my fault). It's a classic breakup song full of contradictions, where he misses her but also boasts about being better off and tells her she'll never forget their moments together.

In "Caperuza," Fuerza Regida flips the classic fairytale of Little Red Riding Hood (Caperucita Roja) into a messy, late-night heartbreak story. The singer plays the desperate wolf ("Soy tu lobo, animal" [I'm your wolf, animal]) searching for his lost "Caperuza." He admits he lied to her in the past, so she packed her bags, hit the party scene with friends to drink and "sin," and completely ghosted him for three nights straight. He calls their relationship bizarre and toxic: "Este amor es anormal" [This love is abnormal].

What makes this corrido tumbado fun is the blunt Mexican slang and petty family drama. When her father angrily calls him out—"Pregunta tu papá 'Cabrón, ¿qué le hiciste a mi niña?'" [Your dad asks, 'You bastard, what did you do to my girl?']—he talks right back to the older man in his head, sighing that the daughter cheated: "Supiera, viejón, que me hizo chivo su niña" [If you only knew, old man, that your girl made a fool of me / cheated on me]. The phrase hacer chivo specifically means making someone a cuckold or stepping out on them. Paired with words like pisteaste (you drank booze) and the frustrated sigh chale (damn it / what a bummer), the song gives you real, unfiltered street talk while the narrator accepts that this toxic romance is finally dead.

In "POR ESOS OJOS," Fuerza Regida mixes street-level bragging with absolute obsession over someone's gaze. The narrator admits that wealth changed him, wearing "una cadena con diamantes" ("a diamond chain") after pulling himself out of poverty. But all the fast living, fame, and cash leave an empty spot. He bluntly confesses that "el billete no vale verga" ("money isn't worth shit") when set against how he feels about this woman. You get Mexican slang right away with "me la paso a toda madre" (meaning he is having a great time) alongside threats for haters, claiming "pa'l envidioso cargo aparatos" ("for the envious guy, I carry heat / weapons").

The real hook of the song is the extreme, reckless romantic talk. He claims "por esos ojos, yo robo y mato" ("for those eyes, I rob and kill") and "por esos ojos me hice malandro" ("for those eyes I turned into a crook"). It is completely over the top, but it shows the dangerous lengths he will go to impress someone he calls "la envidia del antro" ("the envy of the nightclub"). Even with all his tough talk and promises to protect her from heaven if he dies first, his main goal stays simple and direct: begging her not to say no tonight.

Cruising down the boulevards of California while smoking a cigarette, Mexican star Peso Pluma and Estevan Plazola reflect on how wild their lives have become in "HOLLYWOOD". The track mixes traditional corrido acoustic sounds with the modern hustle of the corrido tumbado movement. On the surface, it sounds like pure luxury: expensive caviar dinners, designer clothes, and spending twenty grand without blinking ("Veinte mil como si nada" [Twenty thousand like it is nothing]). But the sleepless nights keep piling up. The hook repeats "No quiero acostarme, no puedo dormir / No puedo acabar, no me puedo rendir" (I don't want to go to bed, I can't sleep / I can't finish, I can't give up), showing the sheer restlessness that comes with fast fame.

What makes this track stand out is how honest the story gets about earlier struggles. The lyrics drop Mexican slang like neta (the truth / for real) and look back at getting arrested at fifteen years old just trying to chase ambition. One vivid detail mentions wearing two pairs of pants to soften the blow from belt beatings ("Doble pantalón para aguantar los cintarazos" [Double pants to endure the belt lashes]) after parents got a call from the police. From family fights and getting kicked out of the house to calling out crooked politicians ("Otro más para la lista de corrupto" [Another one for the list of corrupt people]), the song tracks the long, gritty road that led straight to Hollywood.

In "NUEVA VIDA", Mexican artist Peso Pluma takes a step back to reflect on how fast his world is moving. At just 23 years old, he is constantly on the move, admitting "Veintitrés y ya ando de arriba pa' abajo" ("Twenty-three and I'm already running up and down"). Instead of boasting about flashy jewelry, he grounds himself in family roots. He sings "Rodeado de lujos y no materiales" ("Surrounded by luxuries, and not material ones"), giving credit to his parents for giving him a good life and dedicating his success to his late father up above ("El viejo en el cielo siempre ha de guiarme" ["The old man in heaven will always guide me"]).

As you listen, you will pick up some great Mexican slang. When he says "yo nunca me rajo" ("I never back down"), he uses the verb rajarse, which means to chicken out or break a promise. He also drops "nunca ando de ondeado" ("I'm never tripping out" or "I never act crazy"), showing he prefers to stay cool-headed while rolling smoke ("forjando"). Growth brings new challenges, though. He notes that "envidias" (jealousies or haters) are creeping in as he builds this new lifestyle ("Una nueva vida la que me estoy dando" ["A new life that I am giving myself"]). His strategy to handle it? Keep his circle tight with loyal friends like "compita Rulas" (his buddy Rulas) and maintain a low profile so nobody bothers him: "Soy de perfil bajo, así nadie me busca" ("I'm low profile, so nobody looks for me").

In "LUNA", Mexican artist Peso Pluma teams up with Junior H for a slower, reflective corrido tumbado about letting go of someone who has moved on. Instead of checking in on his ex directly, the narrator talks to the night sky. He begs the moon, "Luna, dile tú / Que tú eres la única que la puede mirar" ("Moon, you tell her / That you are the only one who can look at her"), asking it to watch over her now that he is completely out of her life with the plea, "Cuídala" ("Take care of her"). He accepts the harsh reality that she found someone new—"Tiempo pa' saber / Que tú ya estás con otro" ("Time to learn / That you are already with someone else")—and simply hopes this new partner treats her well, while trusting she will still remember their past together.

Along the way, the track features classic regional Mexican slang that shows off their friendly camaraderie. When Peso Pluma shouts "Para la plebita" ("For the little girl / young woman"), he uses plebita, a common Sinaloan term for a young woman. Junior H adds the phrase "Que siga la mata dando" (literally "let the bush keep giving"), an idiom that means "keep the good times rolling" or "keep the hits coming." Even as they accept a breakup, they keep their signatures front and center, complete with Peso Pluma's trademark self-reference "Pura Doble P" ("Pure Double P").

Mexican singer Peso Pluma and Óscar Maydon kick this track off by name-dropping every luxury item they can reach: Le Labo's cult fragrance Santal 33, a Porsche Cayenne, and hyped Travis Scott sneakers ("Los Travis me los puse ahora" [I put on my Travis Scotts right now]). They even throw in some playful French—"Bonjour mademoiselle, j'suis équipé" [Hello miss, I'm well-equipped]—while sipping rosé on a private jet. Then comes the sports boast: Peso compares himself to soccer star Kylian Mbappé, claiming that by age twenty-three he was already celebrating big wins ("Y como Mbappé a mis veintitrés / También festejé con las copas" [And like Mbappé at twenty-three, I also celebrated with trophies]). Still, despite all the flash, the girl in the song is thoroughly unimpressed by the flex ("Mis lujos a ella no le asombran" [My luxuries do not impress her]).

That tension rolls straight into the bedroom. The lyrics leave zero ambiguity about their casual arrangement: "sabes bien que no somos amigos / Estamos aquí porque los dos quisimos" [you know well that we aren't friends / We are here because we both wanted to be]. Things take a slightly darker, funny turn when Óscar Maydon notices her staring nervously at his weapons ("Le asustan mis armas / Lo noto en tu cara" [My weapons scare her / I can tell by your face]), only to tell her to relax because he puts them away when he is around her. Between mentions of shipping containers, heartbreak, and pure adrenaline, it is a restless, boastful rush through fast living and no-strings-attached lust.

Fuerza Regida takes a break from tough street stories to drop a completely shameless love pledge in this Corrido Tumbado track. The lyrics do not hold back on emotional dependence. From the very first lines, the singer admits he cannot handle life alone: "Necesito cuidados, necesito de ti" ["I need care, I need you"]. He asks his partner not to let him travel solo, praising how well she looks after him with "Tú me sabes bien cuidar, tú me sabes bien guiar" ["You know how to take good care of me, you know how to guide me well"]. It is direct, honest, and puts all his cards on the table.

The real punch comes when he tries to figure out how to repay her for all that affection. He asks "Cómo te puedo pagar todo lo que haces por mí" ["How can I pay you back for everything you do for me"] and decides his only currency is existence itself: "Solamente con mi vida, ten mi vida, te la doy" ["Only with my life, take my life, I give it to you"]. Then comes the dramatic, repeated plead: "Pero no me dejes nunca, nunca, nunca / Te lo pido por favor" ["But never, never, never leave me / I am asking you please"]. It is totally over the top in the best way possible, showing a vulnerable side where love feels like a life-or-death necessity.

Mexican artist Peso Pluma drops his usual tough-guy edge in this corrido tumbado, trading stories of the streets for pure, unapologetic puppy love. Right from the start, he sets an easygoing scene: "Y aquí andamos caminando / Juntos por el parque agarrados de la mano" ("And here we are walking / Together through the park holding hands"). He promises to move the world and bring down the moon, calling her a spell that completely hypnotizes him. It is simple, sweet, and straight to the point.

What makes the track stick is how he blends romantic clichés with his own personal style. He talks about how her presence cleared his path in life ("Me limpiaste mi camino"), but he also keeps it grounded in his look, declaring himself "Bien tatuado enamorado" ("Tattooed and in love"). He even uses classic Mexican courting slang when he vows, "Seré tu galán y no nadie más" ("I will be your leading man / handsome suitor and no one else"). A galán is basically the dashing romantic hero you would see in a telenovela. For Peso Pluma, love boils down to two big things: "amor y lealtad" ("love and loyalty").

In Mexican slang, a sancho is the secret side lover, and Fuerza Regida leans completely into that role here. The singer is telling a woman to pack her bags immediately—"Mi niña alista tu maleta ahorita" (My girl, pack your suitcase right now)—and ditch her actual partner ("Ya dile al tonto que ya te vas" [Tell that fool you're leaving already]). He has a private jet ready to fly to Ibiza and London, mixing luxury flexes with completely blunt hookups mid-flight. He knows she is taken and good at lying ("Cabrona, buena pa' mentiras" [Badass girl, good at telling lies]), but he loves the thrill of it anyway.

The track is packed with everyday Mexican slang. When he says "que no lo sepa tu güey" (don't let your guy find out), güey is the common slang term for a dude or boyfriend. He also throws around "sin pedos" (no problem / without drama) and tells her to pick a fight with her man ("peléate con tu güey") just to create an excuse to leave. He admits straight up that he is a player with thousands of lovers ("Mujeriego y coqueto, tengo mil amores" [A womanizer and a flirt, I have a thousand loves]), warning her that if she wants to be with him, she just has to deal with the rumors and keep cool ("Nomás no te me aloques" [Just don't go crazy on me]).

Turn the speaker all the way up for this one. Fuerza Regida jumps straight into the adrenaline rush of street combat with "Marlboro Rojo." Right from the start, the singer demands high volume with "Viejito, súbele a la bocina" ("Old man, turn up the speaker") to fuel the rush of "andar tirando vergazos" ("getting into brawls"). He calls for a red Marlboro cigarette to take the edge off his racing heart, shrugging off the danger with a quick "Primo, es que así es la movida" ("Cousin, that's just how the game goes"). Between heavy firefights, armored trucks ("las duras"), and fully loaded magazines, the track swings wildly between life-or-death chaos and sudden romance: right in the middle of dodging "las balas del diablo" ("the devil's bullets"), he admits he is just daydreaming about someone's eyes.

Along the way, the song throws around sharp Mexican slang and luxury flexes. You hear phrases like "bien pilas" ("staying sharp" or "on high alert") while the crew rides in a powerful "GT500" Mustang. There is a gold-handled gun tucked in the waistband, big .50-caliber rifles ("tostones") aimed high, and promises of high-end trips to Paris. But the track never pretends any of this is safe. With the line "Y no se sabe si de esta salimos con vida" ("And we don't know if we'll make it out of this alive"), it lays bare the daily gamble of living fast in the corrido tumbado world.

Junior H brings his signature melancholic corrido tumbado sound to "LAS NOCHES", delivering an honest confession about being completely unable to move on. He opens by admitting he is still stuck in the past: "ya ha pasado tanto tiempo y aún vivo el ayer" ("so much time has passed and I still live in yesterday"). Even though he is tired of waiting, his brain refuses to quit fantasizing about a comeback. He literally calls himself "este costal de huesos" ("this bag of bones"), a self-deprecating Mexican idiom showing how worn down and fragile he feels after realizing all her sweet talk was "mentira como tus besos" ("a lie like your kisses").

The whole track feels like an internal debate with his own pride. He admits he ignored all the red flags with "tapándome los ojos, confié en ti" ("covering my eyes, I trusted you"), which sent him tumbling straight down from the peak: "me tenías en la cima, desde arriba fui a caer" ("you had me at the top, from way up high I fell"). He knows trying to change her mind is impossible, yet whenever the sun goes down, his thoughts wander right back to "las noches que hacíamos el amor" ("the nights we made love"). It is blunt, petty, and painfully relatable late-night overthinking set to acoustic guitar chords.

Natanael Cano takes on a classic breakup anthem, bringing his signature corridos tumbados energy to a dramatic declaration of freedom. The title says it all: "Ya Te Olvidé" ("I already forgot you"). He makes it clear that the toxic hold an ex had over him is completely broken. Instead of moping around, he celebrates getting his independence back with the line, "Vuelvo a ser libre, otra vez / Vuelvo a volar hacia mi vida" ("I am free again / I fly back toward my life"). The relationship was full of manipulation, and he calls it out directly: "Me atrapaste, me tuviste entre tus manos / Me enseñaste lo inhumano y lo infeliz que puedes ser" ("You trapped me, you held me in your hands / You showed me how inhumane and unhappy you can be").

The best part of the track is how blunt he gets when calling out his ex's oversized ego. She assumed he would come crawling back on his knees, telling him, "Que después iría a rogarte y a pedirte 'bésame'" ("That later I would come begging you and asking you to 'kiss me'"). Instead, he actively fought against his own lingering feelings: "Yo luché contra el amor que te tenía y se fue" ("I fought against the love I had for you and it went away"). If you've ever had the ultimate satisfaction of proving an arrogant ex wrong, this track speaks your language.

This song paints a picture of a luxurious and successful lifestyle, giving a shout-out to a friend the singer calls "El Capi" (The Captain). The lyrics describe someone who enjoys the best things in life, from flying in private jets with friends to driving a Tesla with impressive "butterfly" doors. This person is always dressed to impress, with clothes and shoes that "shine" wherever they go.

Beyond just the material wealth, the song highlights a life of influence and high status. The narrator mentions getting front-row seats at the most exclusive events and partying with famous people like J Balvin and Maradona. Despite this flashy life, "El Capi" is also described as smart and strategic, keeping a "low profile" to get ahead and always being "three steps" ahead of everyone else. It's a celebration of living large, looking fresh, and being at the top of your game.

Mexican artist Natanael Cano takes a break from tough street tales to deliver an absolute romantic powerhouse in this corrido tumbado. He calls himself a "simple pobre diablo" ("simple poor devil" or an ordinary nobody) who struck pure luck by winning the heart of an angel. In Spanish, calling someone a pobre diablo is a dramatic, self-deprecating way to say you are completely unworthy of the person you love. He treats this romance like a miracle from above, admitting that before she stepped into his life, he was completely lost.

The song runs entirely on extreme, dizzy contrasts between heaven and earth. Natanael sings that he leaves reality behind just by feeling her presence, but the moment she is gone, he plunges straight into the abyss: "Entre el cielo y el infierno / Sólo hay un espacio, sólo hay un abismo" ("Between heaven and hell / There is only a space, there is only an abyss"). He even credits her with rehabilitating him, claiming he cannot even recognize his old self anymore: "¿qué pasó conmigo?" ("what happened to me?"). It is bold, utterly head-over-heels, and wears its drama right on its sleeve.

Junior H serves up a raw confession in “DEMENCIA,” where he acts like he’s lost his memory to dodge an avalanche of lies. The narrator is torn between cold skepticism and lingering hope, asking the million-peso question: “Did you ever really love me?” He recalls begging for explanations that never came, so now he flips the script and refuses to give any of his own.

The chorus claims the world is bursting with pleasures and new women—his supposed escape route from heartbreak. Yet every boastful line is undercut by the truth: he still can’t shake his ex, no matter how many parties pile up. The song blends swagger with sorrow, painting a picture of someone who masks pain with bravado, only to admit in the end that forgetting is harder than he advertised.

In "ANSIEDAD", Fuerza Regida brings us straight into the messy, chaotic reality of tour life and turbulent relationships. The track kicks off with a blunt confession: "Otra vez otra en mi cama, qué puta ansiedad" ("Another woman in my bed again, what f***ing anxiety"). He is dealing with a ringing doorbell, a ringing phone, and a partner starting arguments on the other end. He uses Mexican slang like "agüite" when he says "Vieras qué agüite me da contestar" ("You should see how sad and unmotivated it makes me to answer"), showing how draining the constant conflict feels.

His defense is hilarious, bold, and terrible all at once. He tells his main girl, "Las otras capillas pa' un rato nomás" ("The other chapels are just for a little while"), pulling from the classic Mexican proverb "Teniendo catedral, ¿para qué quieres capillas?" which compares a main partner to a grand cathedral and temporary flings to side chapels. He begs her to understand the chaotic reality of fame with "Es la vida de artista / Me la navego entre loquera, desvergue de güeras" ("It's the artist life / I navigate through craziness, wild chaos with blondes"). Yet, despite all the partying, the nervous breakdown does not stop: "Y nomás la ansiedad no se va" ("And the anxiety just won't go away").