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

Becky G lays her cards right on the table in this playful Latin pop smash: she is completely over dating immature guys. She sings plainly, "A mí me gustan mayores / De esos que llaman señores" (I like older men / The ones they call gentlemen), craving someone with old-school manners who brings her flowers and opens car doors. But do not mistake her for purely traditional. She wants romance mixed with heat, asking for poetry whispered in her ear while getting wild behind closed doors ("A mí me gusta que me digan poesía / Al oído por la noche cuando hacemos groserías"). The song is witty, upfront, and uses the clever double-meaning idiom "dar la talla" in "Prefiero un tipo que me dé la talla" (I prefer a guy who measures up / can handle me).

Then Bad Bunny jumps in to defend the younger generation with pure swagger. He is only twenty-one ("Un caballero con veintiuno"), but he claims he already has a bank account like an old man ("tengo la cuenta como uno") and will gladly bring her breakfast in bed. He teases that while she might dream of an older gentleman, he is brand-new out of the box ("nuevo de paquete") and has the stamina to stay active around the clock ("activo veinticuatro siete"). Their funny lyrical debate turns the age-gap romance trope into a back-and-forth party anthem.

Becky G and Peso Pluma team up to deliver a refreshingly honest take on a breakup that both people know had to happen. Instead of fighting for a lost cause, they admit that things are simply broken: "Una y otra vez cometimos errores que no se arreglan ya" ("Time and time again we made mistakes that can't be fixed anymore"). They describe the relationship as a "cuento de nunca ya acabar" ("a never-ending story"), a Spanish idiom for a messy situation or repetitive argument that keeps looping forever until someone finally walks away. Their solution is blunt: "Tú por aquí, yo por allá" ("You over here, me over there").

Peso Pluma even throws in a bit of luxury name-dropping to show how spoiled his partner was, singing "Te llevé a Chanel, también escogió de Cartier" ("I took you to Chanel, she also picked out Cartier"). High-end designer brands couldn't save the spark, though. Even with expensive gifts and declarations like "Pues te amo, bebé" ("Well, I love you, baby"), the reality sets in that they are never crossing paths again. It is a great track for picking up everyday phrases about accepting defeat in love without pretending it doesn't sting.

Moving on is supposed to mean you are fine, but in "POR EL CONTRARIO", Becky G teams up with Ángela and Leonardo Aguilar to admit that pretending to be over an ex is exhausting. The title itself translates to "On the contrary," which sets up the whole contrast of the track: while the ex seems completely fine ("Tú sí estás bien sin mí" [You actually are fine without me]), the narrator is home alone wondering if someone else is kissing them or if they covered up their name with fresh ink ("Quiero saber si con otro tattoo / Te tapaste mi nombre" [I want to know if with another tattoo you covered my name]).

Instead of finding quick closure, the lyrics get dramatic in the best way. The singer talks about nearly selling their soul just to feel numb ("Yo por el contrario casi vendo el alma / A cambio de vivir sin sentir nada" [I, on the contrary, almost sold my soul in exchange for living without feeling anything]). They even try bargaining with the universe, but karma bluntly replies with the Spanish proverb "Todo se paga" (literally "Everything gets paid for," meaning what goes around comes around). It is an honest look at post-breakup misery where the memories sting ("tus recuerdos maltratan" [your memories mistreat me]), even if you survive them.

Have you ever met someone and instantly knew you had to take a shot, even if the odds seemed terrible? That is the exact rush Becky G and Paulo Londra bring in "Cuando Te Besé". The song kicks off with Becky admitting her first thought was "Supe que no eras para mí / Seguro tenías a alguien" ["I knew you weren't for me / Surely you had someone"]. But curiosity won out. A simple street walk and a sudden hand squeeze sparked that mysterious "no sé qué" ["I don't know what" - an indescribable spark], leading straight into a life-changing kiss where she felt she "toqué el cielo" ["touched the sky"].

Paulo steps in and flips his whole attitude upside down. He literally calls himself "Forever alone" [a nod to the internet meme for chronic bachelors] until he spots her. Suddenly, being solo is out the window, and all he cares about is dancing: "No te vayas que se apaga mi ilusión" ["Don't leave or my dream will fade"]. The whole track is a fun, back-and-forth confession about that one magical kiss you would repeat "de nuevo, y de nuevo, y de nuevo" ["again, and again, and again"].

Becky G and Natti Natasha team up for this playful, high-energy pop hit that skips right past small talk. The entire track revolves around an open late-night invitation. When Becky sings, "Si tú me llamas / Nos vamos pa' tu casa / Nos quedamos en la cama / Sin pijama" ("If you call me / We go to your house / We stay in bed / Without pajamas"), she makes her intentions crystal clear. She even teases with the line "Que no traje pijama / Porque no me dio la gana" ("I didn't bring pajamas / Because I didn't feel like it"), adding a fun, cheeky attitude to the hook.

The lyrics lean heavily into modern romance, talking about trading spicy pictures ("Me manda foto, fotico / Mostrando todo, todito" ["Sends me a photo, a little photo / Showing everything, every little bit"]) while rushing over on a video call. When Natti Natasha jumps in, the tempo gets even wilder with bold lines like "Siempre he sido una dama / Pero soy una perra en la cama" ("I've always been a lady / But I'm a wild one in bed"). Between throwing out the rulebook ("Botamos el manual" ["We threw away the manual"]) and spending the night with no sleep in sight, the song is pure, straightforward fun about enjoying the moment together.

Ever had an ex tell you that you were their whole world, only to watch them move on completely fine? That is the exact frustration Becky G and DannyLux call out in "CRIES IN SPANISH". The track looks back at a relationship full of big promises that turned out to be totally hollow. Becky G wonders what things would look like "Si aún fuera tu morra" ("If I were still your girl"), using the Mexican slang "morra" for girlfriend. The central gut-punch comes in the chorus with the repeated phrase "Según yo era tu droga" ("Supposedly I was your drug"). In everyday Spanish, using "según" like this is a sharp, sarcastic way of saying "You claimed that, but your actions prove otherwise."

The lyrics hit hard because of the relatable, everyday details. The singer admits they stopped visiting their usual Friday spot and confesses, "Nunca supe cómo acabó la serie" ("I never found out how the TV show ended"), showing how a breakup even ruins your shared Netflix routines. To make their feelings crystal clear, the song leans into heavy Mexican street slang: "Al chile no puedo y la neta ni quiero / Dejar de quererte" ("Honestly I can't and the truth is I don't even want to / Stop loving you"). Here, "al chile" and "la neta" both mean "honestly" or "for real." It is a blunt, stubborn confession about wanting someone who clearly did not mean what they said.

MAMIII is a sharp, funny kiss-off track where Becky G and KAROL G shut the door on a toxic ex who will not stop calling. Becky G starts off by saying she sent his fake love on vacation without a visa ("Sin visa ni pasaporte / Mandé tu falso amor de vacaciones") and even tossed her phone in the trash because of his bad energy ("No me vuelvas a llamar / Que hasta boté el celular"). She is moving on without looking back, joking that she left him a review with zero stars ("Te dejé el review, no te puse ni una estrella") and telling him that if he wants her new number, he can dial "1-800-jódete" (1-800-screw-you).

KAROL G jumps in with even heavier hits, quoting the famous Mexican singer Paquita la del Barrio with the classic insult "Rata de dos patas" (two-legged rat). She uses blunt Colombian slang like gonorrea to call out how badly he treated her, mocking the fact that while he is out with someone new, he is still crying and thinking about her ("Andas comiéndote a otra, pero estás pensando en mí"). It is an energising breakup track packed with bold humor, reminding you that when something is toxic, you throw it out and never look back.

Becky G completely throws out the good-girl image here. Right from the hook, she warns everyone that she is not easily labeled: "No soy ni mala ni santa" (I'm neither bad nor a saint). She is out at the club to drink, dance, and live on her own terms without romantic drama. When she sings "No me hablen de amor, eso a mí no me interesa" (Don't talk to me about love, that doesn't interest me), she is setting a hard boundary. She takes charge of the flirtation instead of waiting around for someone else to make a move.

The energy in the track is all about staying out until morning and causing a bit of trouble. She asks for tequila to wet her throat, grabs her dance partner by the waist, and commands everyone to "Apaguen celulares, estamos para maldades" (Turn off your cell phones, we're here for mischief). In Spanish, maldades literally means "wicked deeds" or "evils," but on a Latin dancefloor, it just means being wild and breaking a few rules without leaving any digital evidence behind. She admits she might seem quiet at first (calladita), but once the night kicks off, she has no intention of stopping.

Have you ever tried to play it cool with someone, only to fall head over heels the minute they kiss you? That is exactly what Becky G and Manuel Turizo are dealing with in "QUE HACES". Becky opens by admitting she would deny having feelings if anyone asked, but she is already feeling jealous ("sintiendo celitos por ti" [feeling a little jealous over you]) and thanking whoever taught him how to kiss. She calls herself "la que no quería querer" [the one who didn't want to fall in love], yet here she is, counting down the days until they meet up again.

The chorus hits with an insanely bold, funny proposition: "Dime qué haces este viernes y el resto de tu vida" [Tell me what you are doing this Friday and the rest of your life]. They throw out all the options at once: "¿Nos vemos o qué? ¿Nos casamos o qué? ¿O nos comemos y que el tiempo decida?" [Are we seeing each other or what? Are we getting married or what? Or do we hook up and let time decide?]. Manuel matches her direct energy with Colombian slang, asking to "parchemos dándonos piquitos" (where parchar means to hang out or chill, and piquitos are little pecks or kisses) and admitting she has him "hecho cuadritos" [turned into pieces / totally hooked]. It is a delightfully impatient pop track about throwing caution out the window when the chemistry is simply too good to ignore.

Becky G opens by listing every compliment she has already heard — linda, preciosa, bella, hermosa — and then admits that none of them land. The piropos and the thousands of roses are pleasant enough, but they are the words anyone would reach for. The one she is waiting on is chula.

That is the hinge of the song. Chula is the affectionate, slightly teasing Mexican way of calling someone gorgeous, and from one particular person it does what the grander words cannot. The second verse makes the case smaller and more specific: he texts her, asks what she is up to, says he wants to kiss her — and that ordinary attention is exactly what the rest never managed. By the outro the word has come apart into pure sound, chu-chu-chu-chu-chula, which is roughly what a compliment becomes once you have decided to believe it.

Becky G and KAROL G team up to deliver the ultimate goodbye to a toxic ex, and they do not pull any punches. Instead of crying over spilled milk, they treat the breakup like taking out the trash. The opening line sets the mood immediately: "Lo que no sirve que no estorbe" [What is no longer useful shouldn't get in the way]. From throwing away their phones to leave zero chance of contact ("boté el celular" [I threw out the cell phone]), to setting up a fake customer service hotline for complaints ("Llama 1-800-jódete" [Call 1-800-screw-you]), this pop track turns moving on into an absolute victory lap.

What makes this track especially fun is how it leans into sharp regional slang and classic Latin pop references. KAROL G drops heavy Colombian street slang like "gonorrea" to call out an ungrateful partner, and even quotes the famous Mexican singer Paquita la del Barrio with the line "Rata de dos patas, lo dijo Paquita / Un animal rastrero" [Two-legged rat, Paquita said it / A crawling beast]. By comparing the ex to a zero-star customer review ("Te dejé el review, no te puse ni una estrella" [I left you a review, I didn't give you a single star]), the song treats bad relationships with total humor and moves straight into party mode.

Bold, bilingual and unapologetic, “KILL BILL” is Becky G’s sonic eye-roll at anyone who tries to police her words, her body or her attitude. Over a swagger-filled beat, she turns every critical comment into background noise, slicing through the chatter with lyrics that compare her words to knives. The repeated question “¿Quién te preguntó?” highlights her main message: if she did not ask for your opinion, it is irrelevant. By playfully switching between Spanish and English, Becky shows pride in her Mexican-American identity while reminding listeners that she answers only to herself.

The title “Kill Bill” is more about killing the negativity than literal violence. Think of it as Becky G’s movie-style montage of ditching haters, walking away from anyone who will not accept her as she is, and celebrating self-confidence with a flirty wink. She might invite you to dance or offer a “Kissi boy,” but it is always on her terms. The song is a fierce soundtrack for anyone ready to mute outside opinions and turn up their own volume.

Becky G puts down her boundaries right from the start in "La Respuesta", and she does not mince words. After hearing rumors that Maluma has been asking around about her, she shuts down any idea of playing traditional gender roles. She flat out sings, "Yo no te lavo los trastes / Tampoco plancho tu ropa" ("I'm not doing your dishes / Nor am I ironing your clothes"). She tells him that she buys her own things and does not need his money, preferring to stay single rather than be controlled or locked away at home ("Si lo que quieres es que esté encerrada / Entonces no" - "If what you want is for me to be locked in / Then no").

Maluma jumps in with his counter-argument, claiming he actually likes a partner who has "funda" (money or cash) and plenty of attitude. He warns her with a laugh that a man who doesn't cause trouble simply "no existe" ("doesn't exist"), admitting he will keep chasing her as long as there is a kiss at the end. Becky G stays completely firm, though. Every single pitch he makes gets hit with the exact same energetic reply: "La respuesta a tu pregunta es no" ("The answer to your question is no").

“DOLORES” is Becky G’s warm hug to anyone who feels everything a little deeper than the rest of the world. Speaking directly to a tender-hearted friend named Dolores, Becky reminds her that sensitivity is not a flaw but a superpower. The lyrics paint Dolores as someone who gives endlessly, loves fiercely, and still carries past hurts like a stone on her chest. Becky gently urges her to pause, notice the flowers, and recognize the vibrant “colores” she already holds inside.

At its core, the song celebrates self-worth and resilience. Tears do not dim Dolores’s beauty; they highlight it. Even when she feels “no te sientes suficiente,” Becky affirms that being different is exactly what makes her lovable. With a catchy chorus and heartfelt Spanish lines, “DOLORES” becomes an anthem for embracing emotions, healing from heartbreak, and shining in every shade of one’s own unique palette.

We have all been there: sitting alone in a dark bedroom while all our friends are out partying, staring at unposted photos and looping an old shared playlist. That is exactly where Becky G starts in "2NDO CHANCE". Instead of moving on, she admits she is torn between love and hate, spiraling over the thought of her ex out at la peda (the drinking party) doing with someone else what they used to do together. In Mexican slang, peda comes from pedo (drunk), meaning a lively night out drinking with friends. The desperation gets so real that she asks for false comfort, begging him to say he still loves her "aunque sea mentira" [even if it's a lie].

Ivan Cornejo jumps in to give the other side of the breakup, and he is just as wrecked. He throws a little shade by recalling her dramatic past promises, noting "Recuerdo que decías / Sin mí te morirías / Pero sigues viva" [I remember you said / Without me you would die / But you're still alive]. He admits his pride took a beating after believing he was her exact type, leaving his world completely dark without her. Both singers get stuck in that messy, relatable post-breakup phase where you would rather hear a comforting lie about getting a second chance than face the reality that it is actually over.

The title is the whole problem in two words. A perreo is a sweaty, grinding club dance, and Becky G spends this one crying through it. She is on the floor with somebody new, and the chorus says out loud what she is actually doing there: "Estoy perreando con él / Pensando que podríamos ser tú y yo" ("I'm grinding with him / thinking it could be you and me"). The new guy has done nothing wrong. "Aunque está loco conmigo / Y me da to' lo que pido" ("even though he's crazy about me and gives me everything I ask for") reads almost like an apology to him. It still does not work. "Cuando yo lo beso espero / Que me sepa a ti, y me sabe diferente" ("when I kiss him I hope he'll taste like you, and he tastes different") is the meanest line here, and she aims it at herself.

What keeps this off the sad-ballad shelf is how irritated she is. She opens by handing him the bill: "Pero nuestro futuro dañaste, jodiste" ("but you damaged our future, you screwed it up"), and by the last verse the manners are gone: "No te lo mereces, eres un farsante" ("you don't deserve it, you're a fake"). She mentions being drunk four separate times, and every chorus drops her back "Contra la pared" ("against the wall"), which is where a perreo happens and also where you end up when there is nowhere left to go.

Cruz de Olvido paints the bittersweet picture of a love so deep that the singer is willing to walk away in order to protect the one she adores. As the sun sets, she boards a symbolic boat marked with a “cross of oblivion” and a “cross of love,” knowing that distancing herself is kinder than staying and causing pain. This dramatic farewell is not a denial of love; it is a sacrifice, a promise that her feelings will remain even while she sails into loneliness.

In these heartfelt verses, Becky G blends her Mexican-American roots with a classic ranchera theme: love mixed with honor and resignation. The steady rhythm feels like oars dipping into water, and every line shows the tug-of-war between passion and duty. By choosing departure over damage, the narrator transforms heartbreak into an act of devotion, reminding listeners that sometimes the greatest proof of love is letting go.

"2AM" is an inventory. Becky G goes down the list of what belongs to her — "Míos tus labios, mía tu piel" ("Your lips are mine, your skin is mine"), "Míos tus ojos, mío tu ser" ("Your eyes are mine, your being is mine") — and keeps going past the body into the ordinary business of being alive: "Lo que respiras, lo que bebes" ("What you breathe, what you drink"). Then the list reaches the one item she cannot claim: "Te veo con otra y ay-ay-ay" ("I see you with someone else and ay-ay-ay").

She hears how that sounds and gets ahead of it. "Y no es que sea celosa" ("And it's not that I'm jealous") arrives two lines before "Y si alguien me la quita / Me pongo, pongo furiosa" ("And if someone takes her from me / I get, I get furious"). What she asks for instead of an apology is a deletion: "Que los besos que te dieron / Lo has borrado, no existieron / Los te amos no valieron / Antes de mí" ("That the kisses they gave you / You've erased them, they never existed / The I-love-yous were worth nothing / Before me"). The chorus then returns four more times, which is the point — the counting never finishes.

Bailé con mi ex spins a late-night confession into a catchy reggaetón groove. Becky G walks through the door at dawn, makeup smudged and buzzed from the club, while her partner is already tucked in. When he sleepily asks how her night went, she blurts out the truth: she literally bumped into her ex on the dance floor. One nostalgic song led to another, and—before she knew it—hours had slipped by, twirling to the memories of their first spark. Yet the chorus is crystal clear: the dance was a flashback, not a relapse. Becky is happy to see her ex doing well, but she loves where she is now.

Beneath the bouncing beat, the lyrics explore honesty in relationships. Rather than hiding the encounter, Becky chooses transparency, emphasizing that the ex is “solo un recuerdo.” The song captures that strangely sweet moment when the past re-appears, stirs old feelings, then fades again—leaving you grateful for your present and confident in your choice. It is a playful reminder that nostalgia can be harmless… as long as your heart knows exactly where it belongs.

Ever missed someone so much it felt like a full-blown emergency? That's the feeling Becky G and Tito Double P sing about in "CRISIS". The song is a back-and-forth between two ex-lovers who just can't stay away from each other. They both know that if one of them calls, the other will drop everything, admitting, "Si me llamas hoy o mañana / Sabes bien que voy a verte" (If you call me today or tomorrow / You know well I'm going to see you).

They tried to move on, but it's not working. Even drinking doesn't help erase the memories. One of them promised to stop talking, but the other makes it clear that "Nadie ha podido ocupar tu lugar" (No one has been able to take your place). The feeling is so intense that being apart makes them "pongo crazy y entro en crisis" (go crazy and go into a crisis). It's a dramatic, relatable song about a connection that's too strong to break.

Have you ever run into an ex and instantly realized you still have feelings for them? That is exactly what Becky G is dealing with in "OTRO CAPÍTULO" (Another Chapter). She admits right away that a second chance was not on her schedule: "Sé que no estaba en mi plan otra oportunidad" ("I know another chance wasn't in my plan"). But after taking a good look at him, she throws her plans out the window. She drops a direct compliment with "Qué bien te ha caído el tiempo" ("Time has treated you well"), pointing out that while he was always handsome, he looks even better now. She even realizes she wasted time looking for his qualities in other people: "Siento que perdí mi tiempo / Buscando en otros lo que tú me das" ("I feel like I wasted my time / Looking in others for what you give me").

Instead of overthinking past mistakes, Becky pushes to wipe the slate clean. She asks the obvious question: "¿Y si nos besamos como antes?" ("What if we kiss like before?"). Her mindset is simple: "Lo que pasó, baby, ya pasó" ("What happened, baby, already happened"). She uses the phrase "borremos la memoria" ("let's erase our memory") because life moves too fast to hold onto old drama ("Que la vida se va" / "Life is slipping away"). It is a bold, fun track about turning the page with someone familiar and starting a brand-new chapter together.

This is a beautiful and very personal song from Becky G, written as a letter to her grandfather who has passed away. She sings directly to him, telling him, "Tu recuerdo aquí en mi alma siempre está" (Your memory is always here in my soul) and that she would give anything "Por sentirte y abrazarte una vez más" (To feel you and hug you one more time).

She describes how empty the family ranch feels without him and how her grandmother's "sonrisa ya no ha vuelto a ser igual" (smile has never been the same again). She remembers his advice to "Persigue tus sueños" (Chase your dreams) and tells him that the dreams she had as a little girl are now her reality. It's a sweet tribute that also touches on the pain of regret, as she recalls him saying they'd have more time to see each other, but "no fue así, ya no hubo más tiempo" (it wasn't like that, there was no more time).

Becky G takes on the frustration of getting dumped by a cheating ex in "COMO DIABLOS". She opens with a dramatic medical diagnosis: "Me diagnosticaron que este mal de amor / Es pa' toda la vida" ("I was diagnosed that this lovesickness is for life"), complaining that neither pills nor alcohol can close the wound. What really drives her crazy is the unfairness of the breakup. In the chorus, she demands answers, asking "¿Cómo diablos fue que tú le hiciste / Pa' estar feliz cuando yo sigo triste?" ("How the hell did you manage to be happy when I'm still sad?"). The phrase "¿Cómo diablos...?" is a great Spanish idiom that works just like "How on earth...?" or "How the hell...?" in English.

Instead of moping forever, though, she flips her mood fast. She hypes herself up with "Yo sé que del uno al diez yo soy un fuckin' cien" ("I know that on a scale from one to ten, I'm a fucking hundred") and calls him out for being "bueno pa' ser infiel" ("good at cheating"). She even drops some Colombian-style slang with "hijueputa" (son of a bitch), making it clear that while they might hook up again ("nos volvemos a comer" / "we'll eat each other up again"), he lost any chance of being her official partner ever again. It is angry, confident, and delightfully petty.