Condena literally translates to "sentence" or "condemnation," a word usually heard in courtrooms rather than love songs. Using it here makes heartbreak sound like a punishment handed down by fate itself.
In this song, Montano sings "quiero que borre' esa condena" (I want you to erase that condemnation), asking his partner to let go of past mistakes that still feel like a prison sentence hanging over the relationship.
KEDaaaTé is one long attempt to talk someone out of leaving. It opens with an admission, "Cometo errore', lo acepto y me arrepentí" (I make mistakes, I accept it, and I'm sorry), and everything after that is negotiation: "Lo que fue, ya fue" (what's done is done), "Ma, libérate, que nadie te va a juzgar" (let go, nobody is going to judge you). The title is the hook written the way it gets sung, with the a of quédate (stay) held out.
The best line is the smallest one. "Mi cama me pregunta por ti" (My bed asks me about you), and then "No sé qué responderle" (I don't know what to tell it). He hands the question to the furniture because he cannot answer it himself. Elsewhere he tries flattery, "Baby, tú vales oro, te guardo como un tesoro" (Baby, you're worth gold, I keep you like treasure), and arithmetic, "Mami, en esta balanza es que tus besos pesan" (Baby, on this scale it's your kisses that carry the weight). Watch what the ask has shrunk to by the last chorus: "Mami, quédate y apagamo' el celular" (Baby, stay and let's turn off the phone).