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

"La Plena" is pure, infectious Colombian flirting put straight to a reggaeton beat. Colombian singer Beéle skips the small talk right away, claiming that while a cold beer might quench his thirst ("Una cerveza pa' calmar la sed"), he would much rather be kissed by her little mouth ("mejor ser besado por su boquita, amor"). From there, it turns into a playful, late-night pursuit where he calls her the apple of his eye ("la niña de mis ojos") while admitting he is ready to get into trouble. He even teases her about playing with fire, asking: "Si no te gusta el infierno / ¿Pa' qué vienes al diablo y lo emboba'?" ("If you don't like hell, why do you come and hypnotize the devil?").

The track is packed with authentic Colombian slang that makes the romance feel real and regional. The title phrase la plena is coastal slang for "the honest truth" or "for real," and Beéle leans into his roots when he describes their clash of cultures: "Ella, parcerita, paisa, y yo costeño, coleto" ("She's a Medellín local, and I'm a wild Caribbean coast boy"). He invites her to chill and watch the sunrise ("¿Qué dices si nos parchamo' a ver el amanecer?"), using parchar (to hang out), and promises to keep things honest with "cero visaje" (no drama or fake attitudes). It is a song about dancing cheek-to-cheek on a single floor tile ("En una baldosa la aprieto") and giving in to someone whose vibe drives you crazy.

Colombian singer Beéle brings smooth Afro-Caribbean and reggaeton rhythms straight into a story about total paranoia. The song starts with a sharp twist on an old saying: people usually say walls have ears, but he warns that las paredes no solo tienen oídos... También tienen bemba ("walls don't just have ears... they also have big lips/mouths"). The Caribbean slang word bemba means thick lips or a big mouth, pointing out that gossip travels fast. People keep telling him his partner is running around with somebody else (con un tal / "with some guy"), and even though he tells himself ver para creer ("seeing is believing"), the distance between them is already driving him crazy.

Throughout the track, he obsesses over what would happen if he caught her red-handed. The phrase pillar means to catch or bust someone doing something sneaky. If he catches her kissing someone else, he admits his eyes will tear up (los ojitos se me aguarán) and says eso me asara—a Colombian phrase meaning "that freaks me out" or "that stresses me out." While he tries to clear his head alone on the beach (yo aquí en la playa), he is still stuck reminiscing about dancing close (recuerdo tu body cuando guayas—guayar means to grind or dance perreo close together). He is caught between missing that intimacy and preparing for the heartbreak of catching her in the act.

Colombian artist Beéle brings pure romantic desperation to this reggaeton track, and he does not hold back. The title sets the mood right away: “Anhélame, anhélame como si fuera de verdad” [Long for me, crave me as if it were real]. He is asking for affection with urgency, pleading for a tight embrace because he fears losing his partner the moment he lets go (“porque si te suelto te me vas” [because if I let you go, you leave me]). The magic began with a single sound. He repeats that the exact moment he fell in love was when he heard her voice (“Cuando escuché tu voz / Nunca olvidé tu voz” [When I heard your voice / I never forgot your voice]). That vocal memory gives him goosebumps (“se me eriza la piel” [my skin gets goosebumps]) whenever they get close.

Beéle mixes Spanglish and Colombian slang to show he is completely hooked. When he says “Jué lindo, only vibes / Heavy, fue heavy, ma” [It was nice, only vibes / Heavy, it was intense, girl], he is recalling how strong that initial spark hit him. He offers up everything with “Yo estoy pa' ti, tú tienes to' mi corazón” [I am all for you, you have all my heart]. If his partner still doubts his commitment, he calls it “malo, malo” [bad, bad] and repeats the phrase “Deja el viaje” [Stop tripping / Stop overthinking]. In colloquial Latin American Spanish, going on a “viaje” (trip) means making up wild doubts in your head. He wants her to drop the doubts, stay by his side, and light up his world so he never has to face being alone.

Ever had an incredible spark with someone, only to end up staring at your phone wondering where they vanished? That is the exact frustration Colombian singer Beéle brings to "No Tiene Sentido" ("It Doesn't Make Sense"). He is stuck replaying a wild night where they stopped time together, completely baffled by the distance between them now. As the chorus bluntly puts it: "Bebé, tú allá y yo acá / Eso no tiene sentido" ("Baby, you over there and me over here / That doesn't make sense"). He remembers her "piel canela" (cinnamon skin) and admits he is fighting his own thoughts because his brain tells him to move on, but he simply cannot let it go.

Beéle keeps things very real and modern in the verses. He asks her to "manda ubi"—short for ubicación (drop your location)—promising he will fly over immediately ("yo te aterrizo" / "I'll land by you"). He gets unapologetically direct too, admitting he still watches the private video they made together ("El video que hicimos a veces lo utilizo") whenever he misses having "las ganas en el cielo y la ropa en el piso" ("desire through the roof and clothes on the floor"). It is an honest, catchy reggaeton track about wanting to bridge the physical gap with someone you already know you have crazy chemistry with.

Colombian singer Beéle teamed up with producer Ovy on the Drums to deliver an infectious reggaeton track about being totally fed up with keeping a relationship secret. The whole neighbourhood already knows what is going on, so Beéle cuts right to the chase: "To' el mundo ya supone que tú y yo somos algo" [Everyone already assumes that you and I are something] and "Confirman en la calle que contigo es que salgo" [They confirm on the street that it's you I'm going out with]. His reaction is blunt and funny. He drops Colombian slang to ask why on earth they are still sneaking around: "¿Pa' qué putas escondernos?" [Why the hell hide?].

Instead of playing it cool, he wants to go fully public. He tells his crush to drop the mystery and kiss him in front of everybody ("Delante de la gente bésame" [Kiss me in front of people]). In Latin American Spanish, "estás dura" means looking extremely attractive, and Beéle leans into that flirtatious confidence by singing "Voy a presumir que estás dura / Yo tu gángster, tú mi chula" [I'm going to show off that you're hot / Me your gangster, you my pretty girl]. He does not care if people stare or gossip when they get close—he just wants to enjoy being in love openly.

Colombian singer Beéle brings pure coastal heat in "Frente Al Mar", telling a direct story about spotting someone at a party and instantly falling for them. He is completely hooked from the first look, singing "Nadie la ve así como mis ojos la ven" ("Nobody sees her the way my eyes see her") and declaring that he wants her to be his girl. Instead of staying in the crowded club, they sneak away together straight to the beach to watch the sunrise.

Once they hit the shore, the vibe turns completely private and steamy under the night sky. With lines like "La luna es testigo, tú y yo frente al mar" ("The moon is a witness, you and I in front of the sea"), Beéle keeps it totally unfiltered about what happened next. He uses the slang phrase "Hicimos de to'" ("We did everything"), which drops the final letters of todo ("everything") just like people do in casual spoken Spanish. It is an honest, sun-drenched track about a secret late-night escape where nobody else can see them.

Colombian singer Beéle drops the tough act right away in this reggaeton track. He admits he is playing a game where he pretends not to care: "Estoy jugando a que no te extraño y estoy perdiendo" ("I'm playing at not missing you, and I'm losing"). Trying to drown his feelings with a few drinks only makes things worse, pointing out that "en un vaso de agua nos estamos hundiendo" ("we are drowning in a glass of water"). That is a classic Spanish idiom for turning a small problem into a total catastrophe. Even while holding a grudge, he still asks God to look after his ex's heart (cora, short for corazón) and holds out hope that fate will give them a second chance.

His pride takes a beating in the chorus when he asks why she keeps ignoring him, admitting "sigo puesto pa' ti" ("I'm still down for you" or "ready for you"). It is a super common piece of Latin slang you will hear everywhere in modern urban music when someone refuses to move on. He takes things completely over the top later, claiming that kissing her makes him levitate and promising "a Júpiter voy a llevarte" ("I'm going to take you to Jupiter"). Between all the cosmic promises and the simple, desperate English hook "I miss you", he makes it painfully clear he cannot resist her touch.

In "Arena", Colombian artist Beéle teams up with Mexican singer Carla Morrison for a breezy reggaeton track about finding a love that feels predestined. Right from the start, the romance is set against beachy imagery with the line "Tu nombre y mi nombre escritos en la arena" (Your name and my name written in the sand). The lyrics skip the slow burn entirely. One moment Carla sings "Viví sin calma y luego yo te vi" (I lived without peace and then I saw you), and by the next line, she wants to pack her bags, skip ahead in time, and move straight into her lover's arms ("Quise mudarme a tus brazos / Irme al futuro y fugarnos").

Beéle brings in casual Latin American slang to make the devotion feel lived-in and real. He drops the word "cora" (a friendly shortcut for corazón, meaning 'heart') and jokes that he is ready for whatever happens ("El mío a cualquier vaina se somete", meaning his heart will put up with anything). He even mentions having a "croqui'"—short for croquis, a rough sketch or floor plan—ready for the rest of their lives together. Between playful slang like "nos pasamos el cuchi" (being sweet and affectionate in public) and promises carved into the shore where not even the sea can wash them away, the track turns total romantic surrender into something sweet and upbeat.

Beele’s “Ya Q” feels like reading the last page of a love story while taking a deep breath and saying “ok, next chapter!” The Colombian singer rides a gentle Caribbean groove to talk about those sudden punches life throws at us: “son vainas que pegan, golpes del camino” (“these things hit, blows from the road”). He confesses that his partner once meant everything, yet accepts that the relationship has “expired” and is now part of the past. Rather than drowning in sorrow, he chooses to keep the beautiful moments, bless the experience “por el nombre del Padre, del Hijo…” and move forward.

Under the catchy chorus, the message is empowering: heartbreak hurts, but it is also a lesson that keeps us alert “hay que estar en la juega” (you have to stay on your game). “Ya Q” turns goodbye into growth, inviting listeners to dance, reflect, and remember that every setback on the road can spark a brighter, wiser tomorrow.

Colombian singer Beéle leans into pure flirtation and smooth reggaeton rhythm in "Sobelove." The song opens right in the thick of a tricky relationship: "En medio de lo oscuro / No ha sido fácil y hoy quiero ahogarme en los besos tuyos" ("In the middle of the dark / It hasn't been easy and today I want to drown in your kisses"). He is ready to push aside petty drama ("Ya dejemos el orgullo" ["Let's leave our pride behind"]) because he believes what they have shines bright: "Somos brillantes como diamantes, lo nuestro es puro" ("We are bright like diamonds, what we have is pure"). From there, it turns into a game of physical attraction and patience. His strategy is simple: "Porque si te toco / Y tú no dices nada / Poco a poco / Te voy a enamorar" ("Because if I touch you / And you don't say anything / Little by little / I'm going to make you fall in love"). Silence, in his eyes, is permission to win her over.

He calls out her teasing attitude with some classic Colombian flavor: "Te tengo amañada y no lo quieres aceptar" ("I have you hooked/used to me and you don't want to admit it"). In Colombia, amañada means feeling comfortable, attached, or settled in with someone, though she pretends she can take it or leave it. He playfully teases her back ("Tú eres mala, mala, mala" ["You are bad, bad, bad"]), ready to match whatever games she wants to play: "Lo que tú quieras jugar conmigo, yo quiero jugar" ("Whatever you want to play with me, I want to play"). By the time they hit the dance floor ("Y ahora que bailamos, ven" ["And now that we're dancing, come"]), he bets everything on a single night to make her stick around.

This song is pure summer heat, set right on the beach. Beéle and Nicky Jam are completely obsessed with a woman they see, and they are not shy about it at all. The entire track is about the intense physical attraction they feel, comparing her effect on them to the sun itself: "Tú me calientas más fuerte que el sol, sol, sol, nena" (You make me hotter than the sun, sun, sun, baby). It's a straightforward reggaeton party song about wanting to dance with, kiss, and be with someone who they think is perfect.

They get pretty direct with their compliments, from praising her dancing to the blunt line "Dios bendiga esas nalgas suyas" (God bless those buttocks of yours). The lyrics describe a secret connection, where "Nos comemos con la mirada / Nadie sabe nada" (We eat each other with our eyes / Nobody knows anything). Nicky Jam even throws in a funny, confident comparison, telling her, "Yo soy un Richard Mille, el novio tuyo es un Casio" (I'm a Richard Mille, your boyfriend is a Casio), basically saying he's a luxury watch while her current boyfriend is a cheap one. It's a song all about desire and that feeling of being totally captivated by someone on a hot day.

In "Quédate", Colombian singer Beéle lays out a desperate, late-night plea to keep a relationship from ending. He kicks things off by asking how he is supposed to explain to his own heart that she wants to leave: "¿Cómo le explico al corazón que quieres irte?" [How do I explain to my heart that you want to leave?]. From there, the track moves between intensely intimate memories and total panic over being left on read ("no me tira ni, 'hola'" [she doesn't even throw me a 'hello']). He insists their connection is bigger than logic, claiming they are bound to spend Christmas together ("Estamos destinados a juntos celebrar la Navidad") even if their bond went completely against universal laws.

What makes this track stand out is how Beéle sprinkles in hyper-local Colombian coastal slang to get his point across. When he gets ghosted, he admits he is stuck sitting alone overthinking with a massive belly full of anxiety: "yo aquí con cule' bartola" [me here with a huge belly / sitting around in a slump], where cule' is slang for "huge" and bartola refers to an idle, swollen state of brooding. He calls the chaotic drama a wild trip ("Qué visaje, cule' viaje" [What a weird situation, what a crazy trip]), and he caps off his pitch by telling her straight up, "tú eres la mondá" [you are the absolute best / the coolest thing ever]—a very blunt, vulgar coastal phrase used here as the ultimate compliment. It is needy, smooth, and full of distinct flavor.

Colombian reggaeton star Beéle brings pure tropical swagger in "Top Diesel", a track all about that instant, overwhelming crush where common sense goes straight out the window. Everyone around him gives the exact same warning: "No te vayas a enamorar" ('Don't go falling in love'). Even his mom gets involved—"Hasta lo dijo mi cucha" ('Even my mom said it', with cucha being everyday Colombian slang for mother). But seeing a girl he rates as "top diesel, top de cara, top princess" (top-tier power, top-tier face, top princess) makes resistance impossible. His heart literally laughs in his face because he just cannot say no: "Yo no sé decir que no" ('I don't know how to say no').

The lyrics are packed with colorful Colombian street slang and funny domestic daydreams. He is so hopelessly hooked that he wants to settle down and stop partying in the streets—"Que me ajuicie del borondo" ('That she makes me settle down from roaming around', where borondo means cruising or wandering without a plan, and ajuiciarse means to shape up and behave). He even jokes about eating so well in a happy relationship that his cheeks get chubby: "Si mi tía me ve cachetón, diga, 'carajo, el amor engorda'" ('If my aunt sees me with chubby cheeks, let her say, 'damn, love makes you fat''). It is cheeky, unapologetically direct, and full of the fun, flirty energy of letting yourself tumble headfirst into romance.

Antes De Irme is all about running out of time at a party and trying to lock in a kiss before heading home. Colombian artist Beéle and Ozuna are obsessed with someone on the dance floor, and neither wants the night to end empty-handed. Beéle admits right away that he is doing a terrible job playing it cool: "Estoy intentando / Que no se note que más me estás gustando" ("I'm trying not to let it show that I'm liking you more"). Then he drops some great local Caribbean slang from Colombia: "Tú coqueta, yo bien coleto" ("You're flirtatious, I'm super unruly/rough"). Calling himself coleto sets up a fun contrast between her polished charm and his messy, street-smart edge.

The clock is ticking, and the demand is simple: "No me daría igual / Que pueda irme sin primero tus labios besar" ("It wouldn't be the same to me if I leave without kissing your lips first"). Ozuna backs that up by matching the flirtation with his own preparation, saying he got dressed up with "porte y acicale" ("style and grooming") just because he knew she was showing up. Even if she has a situation waiting back home ("Aunque tengas algo afuera" / "Even if you have something outside"), they offer total secrecy: "aquí nadie va a saber" ("nobody here is going to know"). It is bold, sweaty, and totally fixated on that one final dance before walking out the door.

In La Plena zingt de Colombiaanse artiest Beéle over een stomende crush waarbij de vonken er vanaf vliegen. Hij verruilt met plezier een koud biertje voor een zoen van zijn vlam: "Una cerveza pa' calmar la sed / No, mejor ser besado por su boquita, amor" (Een biertje om de dorst te lessen / Nee, beter gekust worden door haar mondje, schat). Hij vindt haar een onweerstaanbare verleiding en stelt meteen voor om samen naar de zonsopgang te kijken met de vraag: "¿Qué dices si nos parchamo' a ver el amanecer?" (Wat zeg je ervan als we samen gaan chillen om de zonsopgang te zien?).

De tekst zit vol heerlijke Colombiaanse straattaal. De titel "La plena" is een uitdrukking die zoiets betekent als "de pure waarheid" of "helemaal echt". Beéle noemt haar een "parcerita, paisa" (een vriendinnetje uit de regio Medellín) terwijl hij zichzelf omschrijft als "costeño, coleto" (een relaxte jongen van de Caraïbische kust). Hij danst super dicht met haar op een enkele tegel ("En una baldosa la aprieto") en wil geen gedoe of toneelstukjes ("cero visaje"). Met speelse lijnen over zoenen in de nek en plagen over de duivel en de hel, windt hij er geen doekjes om: hij is helemaal hoteldebotel.

Dans "La Plena", le chanteur colombien Beéle s'associe à Ovy On The Drums et W Sound pour déclarer sa flamme avec une franchise désarmante. Dès les premières lignes, il pose le décor : une bière fraîche pour la soif ? Non, il préfère embrasser sa dulcinée ("Una cerveza pa' calmar la sed / No, mejor ser besado por su boquita, amor" [Une bière pour calmer la soif / Non, il vaut mieux être embrassé par sa petite bouche, mon amour]). Le morceau décrit cette attirance immédiate née sur la piste de danse, où il admet sans détour qu'elle a ce petit truc en plus qui le rend fou ("tú sí tienes una vainita que a mí me encanta" [toi tu as un petit truc qui me plaît tellement]).

Le texte est bourré d'argot typiquement colombien très sympa à repérer. Quand Beéle chante "Ella, parcerita, paisa, y yo costeño, coleto" [Elle, une pote de Medellín, et moi un gars de la côte caraïbe], il confronte deux cultures régionales de Colombie : la fille de l'intérieur des terres et lui, le gars de la côte. Il lui propose carrément d'aller traîner ensemble pour regarder l'aube ("¿Qué dices si nos parchamo' a ver el amanecer?" [Qu'est-ce que tu dis si on va se poser pour voir le lever du soleil ?], où parchar signifie traîner ou passer du temps entre amis). Le titre lui-même, "La plena", est une expression colombienne pour dire "la vérité" ou "pour de vrai" : une manière directe d'avouer son coup de foudre sans tourner autour du pot.

This song is a massive thank you to a life-changing person. Beéle and Ozuna sing about someone who arrived and fixed everything when times were bad. The main idea is right there in the title: this person was "la mano que me subió al templo" (the hand that lifted me to the temple), saving the singer from his "peor momento" (worst moment). This love isn't just a fleeting feeling; it's a permanent and celebrated victory, described as a "medalla que un atleta se ganó" (a medal that an athlete won).

This person's effect is total transformation. They bring color to a colorless life and wash away all the hurt: "Tu vida a mi vida le da color / Ya no hay dolor, ya no hay dolor" (Your life gives my life color / There's no more pain, there's no more pain). In return for this salvation, the singer offers his whole heart, asking this person to protect it. He promises complete loyalty, saying "Yo sí nunca te voy a dar la espalda" (I will never turn my back on you). This person is now his reason for everything, his "motivo de seguir" (reason to keep going).

This song is a pure, sun-drenched love letter to a morena (a woman with dark hair or skin). Beéle is completely smitten and he's not shy about it. He lays out his whole fantasy, starting with a simple plan: "Nos vemos en la arena" [We'll see each other in the sand]. From there, his dreams get bigger. He wants to travel the world with her, suggesting they "junto llenemos el pasaporte" [fill up the passport together]. The song is full of these sweet, specific compliments. He says he drinks coffee the color of her eyes every morning and compares her beauty to a real place in his native Colombia, "Cabo de la Vela", a famous cape where the desert meets the sea.

He sees their life together as an adventure, a party, and a break from the everyday. He asks her to live with him "Como si mañana no hubiera" [As if there were no tomorrow], just enjoying every moment. He's so into her that he feels like a prisoner of her love, admitting "Morena me tienes preso" [Morena, you have me prisoner]. He sees her as holding the "llave de mi corazón" [key to my heart] and just wants her to stay with him. It's a straightforward, romantic song perfect for a day at the beach.

Una Curita Por Favor (which means A Band-Aid, Please) is Beele’s lively yet bittersweet confession about a love that hurts more than it heals. Over tropical beats, the Colombian singer portrays himself dialing his lover over and over, only to meet silence. He finally realizes that her tears are crocodile tears, her “te amo” is a poisoned apple, and every unanswered call is another cut that needs a Band-Aid. The chorus, packed with “No te creo nada” (“I don’t believe you at all”), shows his shift from wounded to wise: he knows every trick now and refuses to fall for them again.

Beneath the catchy melody sits a relatable message: sometimes we cling to someone who simply is not good for us. Beele turns that painful lesson into a vibrant anthem of self-respect, reminding listeners to hang up on deception, wipe their tears, and patch their hearts before dancing on to better days.

En La Mía is Beele’s sun-soaked anthem about staying in your lane and letting your light speak for itself. The Colombian singer looks back at his childhood by the sea, where the ocean breeze “me ha visto crecer” and his feet are literally “in saltwater.” He has seen envy ruin others, yet his loyalty, faith, and calm attitude keep him anchored. By repeating “estoy en la mía,” Beele tells us he is minding his own business, focused on his personal growth rather than the noise around him.

The catchy chorus—“Siempre quieren brillar como la luna y yo” (They always want to shine like the moon and me)—is a playful reminder that everyone wants that spotlight, but true shine comes from within. Beele compares himself to a seed that has grown into a sturdy oak, proof that patience and self-belief pay off. The song’s upbeat Caribbean vibe and friendly shouts of “compa” invite listeners to relax, have fun, and remember that authenticity and perseverance are brighter than any envy-driven spotlight.

This song is a pure romantic fantasy! Colombian artist Beéle and Ozuna imagine escaping with someone special to a beautiful, private beach. The whole vibe is about getting away from it all, with Beéle singing, "¿Cómo sería? / Si nos vamos de repente pa' una isla" (What would it be like? / If we suddenly go to an island). He sets a perfect scene, wanting to kiss her on the shore of "Playa Marina" and watch her dance as the sun sets, saying the sun itself "te quiere ver bailando una última ve'" (wants to see you dance one last time).

It's a song full of intense compliments and desire. The lyrics are packed with lines about her beauty, like "mi sueño son tus ojos, y que brillan como el oro" (my dream is your eyes, and they shine like gold). Ozuna's verse adds a layer of deep longing, admitting he thinks about her more than he prays, saying "Por pensarte me ando arrodillando / Más de lo que me le arrodillo a un santo" (From thinking of you I'm kneeling / More than I kneel to a saint). It's all about wanting to be completely wrapped up in this person and this perfect beach moment.

This song is one big, confident message to an ex, or maybe a current partner after a fight. Beéle is basically saying, "Ignórame to' lo que puedas / Pero de ninguna manera / Podrás olvidarte de mí" (Ignore me all you want / But there's no way / You can forget me). He's completely sure that what they have is so intense and memorable that she'll never be able to move on. He reminds her of a specific romantic night they shared under a full moon, convinced that memory is permanent.

He also admits their relationship is a bit wild. He calls it a story of "'Amores' / Dementes" (Crazy loves), acknowledging that they fight over stupid things all the time. But he sees their shared craziness as a perfect match: "Tú eres loca, yo soy loco / ¿Qué más quieres?" (You're crazy, I'm crazy / What more do you want?). Despite the drama, he can't stand to be without her, saying he goes crazy and isn't happy when she's not around. It's a song about a passionate, slightly chaotic love that he believes is absolutely unforgettable.

This song is all about that moment when you realize you're falling for someone, and it's happening way faster than you expected. Beéle sings about how he can't stop thinking about this person, admitting, "No me he enchulao', pero casi, casi, casi" (I haven't fallen in love, but almost, almost, almost). He's surprised by his own feelings, even saying he doesn't like how much he's enjoying it. It's that fun, confusing stage where you're on the edge of something serious.

The whole track is basically him daydreaming about a super luxurious, romantic getaway. He imagines them on a Greek island, picturing her "en un bikini en una playa en Santorini" (in a bikini on a beach in Santorini) and cruising on a yacht drinking martinis. The fantasy gets even bigger with sports cars and lobster dinners, all fueled by the idea that "Disfrutemo' la vida, que es demasiado corta" (Let's enjoy life, it's too short). It's a fun, escapist anthem about giving in to a new romance and wanting to spoil that person completely.