Learn Spanish With Lola Indigo with these 13 Song Recommendations (Full Translations Included!)
Glow-up revenge at its catchiest! "Niña De La Escuela" tells the story of a girl who was once overlooked in school but now steals every spotlight. Lola Indigo, TINI and Belinda join forces to flip the script: the shy classmate blossoms into a confident pop star, and the same person who ignored her back then can only stare in disbelief. The lyrics celebrate self-love and transformation while serving a playful dose of payback to anyone who doubted her worth.
Behind the irresistible beat, the song delivers a feel-good message: polish your own diamond, believe in your power and never depend on someone else’s approval. It is an anthem for anyone who has ever been underestimated—reminding us that success is the sweetest response to past rejection.
“1000COSAS” is a steamy duet where Lola Indigo and Manuel Turizo dive head-first into the magnetic pull of two ex-lovers who just can’t quit each other. Over a hypnotic reggaetón beat, they trade playful yet explicit promises (“quiero volver a hacerte mil cosas”) that paint vivid pictures of fogged-up windows, stolen kisses, and a chemistry too powerful to ignore. The lyrics celebrate the thrill of sneaking around, reliving passionate memories, and craving “a thousand things” more, all while roses, butterflies, and speeding cars set the cinematic mood.
Beneath the sensual surface, the song hints at a tug-of-war between pride and surrender. They admit their flaws, confess their “pecados,” and still water the “rosas,” hoping the wind won’t blow their love away. It’s a soundtrack for anyone who’s ever tried (and failed) to walk away from a captivating romance—equal parts lust, nostalgia, and an irresistible promise of yet another unforgettable night.
“Perreíto Pa Llorar” mixes tears with twerking. Lola Índigo walks into the club alone, heart still stinging from a cheating ex. She wants a perreo - that close, bass-heavy reggaetón dance - but this time it is “pa’ llorar,” a dance made for crying. Every sip of alcohol feels useless, every hip move fails to erase the smell of someone else’s perfume on her ex. So she begs the DJ for the song that lets her let it all out on the dance floor.
Enter Argentine rapper Paulo Londra, who spots her mascara-stained cheeks and offers a friendly lifeline: a drink, a dance, anything to help her drop the phone and the memories of someone who never deserved her. Together, their verses paint a picture of nightlife therapy - bright lights, loud beats, and freedom to vent the pain. The track becomes an anthem for anyone who has ever tried to drown heartbreak in music, proving that sometimes the best way to heal is to dance, sing, and cry all at once.
Lola Indigo and Quevedo turn heartbreak into a victory lap in “EL TONTO.” The title means “The Fool,” and that fool is the ex who dared to let Lola go. Rather than crying at home, she slips on the very Gucci gear he gifted her, hits the clubs until sunrise, and dances the pain away. Each line is a playful reminder that she deleted him from her life as easily as an old photo, while he obsessively checks her socials, wondering how she moved on so fast.
Quevedo joins the party to back up her glow-up. He describes the girl who used to be shy at school but now crashes VIP rooms in sequins and dark shades. Together, the pair celebrate confidence, late-night adventures, and the sweet revenge of looking amazing when your ex least expects it. “EL TONTO” is a reggaeton-charged anthem that flips a breakup into a reason to dress up, pour another round, and prove that the one who left is the real loser.
Lola Indigo’s “LA REINA” is a fiery, reggaetón-infused declaration of female power and unapologetic sensuality. From the very first line she lets her ex know that his new fling is out of his league: “You can’t be a king if you don’t have the queen.” With playful chess references (checkmate, bishop without “feel”) and a flirty promise to be the one who “messes up his hair,” Lola crowns herself the only true match for his desire. The repetitive na-na-na hook and shout-outs to her own name amplify the confidence, turning the track into a dance-floor mantra that’s impossible to ignore.
Behind the catchy beat lies a clear message: authenticity wins. Lola brags about her natural curves “without fill” and warns that no one will ever satisfy him the way la reina does. She flirts, teases, and throws friendly shade, but every lyric circles back to the same truth—she is irreplaceable. “LA REINA” celebrates self-worth, sexual ownership, and the thrilling realization that the crown has always belonged to her.
Santería is a fiery anthem of self-empowerment where Lola Índigo, Danna Paola, and Denise Rosenthal join forces to close the door on a deceitful lover. The singers declare that the ex’s “dynasty” is over, the crown now rests on their own heads, and any last-minute pleas for forgiveness will meet a wall of confidence. With playful references to voodoo dolls and mystical blessings, they flip the script: the one who once held power is now the one haunted by memories and regrets.
Behind the catchy beat lies a clear message: I control my destiny. The trio dismiss the ex’s charms as old news, celebrate their freedom on the dance floor, and warn that karma never misses. Their lyrics mix sass, spirituality, and a touch of magical realism to illustrate that moving on can feel like casting a spell – the moment you reclaim your power, the past loses its hold.
AN1MAL roars with the raw magnetism of an intense late-night crush. Lola Indigo sings about that moment when chemistry flips a switch inside you: suddenly you are all instinct, curiosity, and impatience. The chorus confesses how the other person drives her “animal”—she cannot resist imagining their touch once the lights go off.
The verses paint a secret world for two. She wants the crowd to disappear so the pair can explore each other slowly, savoring every second. There is a hint of playful defiance as she brushes off jealous onlookers and demands the “arma secreta” (the secret weapon). Altogether, the song celebrates desire without apologies, channeling the heat of reggaeton beats into a fearless invitation to give in to your primal side.
“DISCOTEKA” is a no-holds-barred invitation to a wild night out where Lola Indigo and María Becerra take charge of the party. The lyrics paint a neon-lit scene full of pumping bass, raised bottles, and smoke swirling from a freshly lit joint. It is all about female camaraderie: the singers round up their “gatas” and “guachas,” glide from Madrid to Buenos Aires, and prove that when the girls arrive, the dance floor turns electric. They flaunt confidence, playful sensuality, and the freedom to do exactly what they want, whether that means twerking until buttons pop or ordering another round of Fernet and sangría.
Beneath the club lights, the song delivers a message of empowerment and ownership of space. The women set the rules, foot the bill, and command the DJ, showing that fun and power can go hand in hand. Every chant of “vamos para la discoteca” becomes both an instruction and a celebration: gather your crew, raise your glass, spark the night’s energy, and dance until sunrise without apology.
Toy Story by Spanish pop sensation Lola Índigo is a playful confession of someone hopelessly hooked on a love that is as electric as it is chaotic. The singer can’t stop thinking about an ex, even though she technically has “another.” She unfollows him but keeps checking his profile, smokes to calm her nerves but never really relaxes, and ends up begging him to stay the night so they can watch the childhood classic Toy Story. The innocent movie reference becomes a clever contrast to the steamy desire she feels, showing how she craves both comfort and passion at the same time.
Despite knowing the relationship is toxic, she admits she would “die” if he looked at her a certain way. Lines like “yo quiero comerte, no comerme el coco” reveal her wish to enjoy the moment instead of overthinking it, while the repeated earthquake imagery (“va a explotar, es un terremoto”) underscores the intensity of her emotions. Ultimately, the song captures the roller-coaster rush of a love you can’t quit, mixing humor, nostalgia, and raw attraction into a catchy pop anthem learners can’t help but sing along to.
Maldición is Lola Indigo’s fiery tribute to the thrill of being mala—the “bad girl” everyone secretly roots for. Joined by Colombian rapper Lalo Ebratt, the Spanish singer turns temptation into a party, mixing biblical imagery (“Padre, Hijo y Espíritu Santo”) with nightclub swagger. She owns her inner “Lucifer dentro de una mujer,” bragging that sin tastes too good to regret and daring anyone to decide who is truly wicked. The chorus chants mala, muy mala like a hypnotic spell, reminding us that sometimes the most irresistible curse is confidence itself.
Beneath its pulsing dembow beat, the song flips the classic idea of repentance on its head—“el que peca y reza, empata” (“whoever sins and prays breaks even”). Here, sin and salvation dance together at midnight, sparks fly, and an “exorcism en el cuarto” becomes pure flirtation. “Maldición” celebrates embracing your shadow, letting the flames of desire light up the dance floor, and proving that a little mischief can be the most liberating soundtrack of all.
Lola Indigo and Mala Rodríguez cast a playful spell in “Mujer Bruja”, turning the idea of the witch into a symbol of fearless female power. Over an irresistible urban beat, the singers announce that they love danger, break the rules, and refuse commitment. They flirt openly, call the shots, and remind a hesitant lover that he is the one who should be scared—not because they are evil, but because they are free. The repeated line “Yo no sé portarme bien” (“I don’t know how to behave”) is not an apology, it is a proud declaration of independence.
The lyrics mix sensuality with humor and street-smart swagger. We hear warnings (“Miedo es lo que tú tienes”), temptations (“Te besé … dijiste que te embrujé”), and clever wordplay about flying through the sky and brewing potions. All of it celebrates women who own their desires and enjoy a little risk. In short, “Mujer Bruja” invites you to break the rules, dance without fear, and embrace your inner magic.
“Cómo Te Va?” pairs Lola Indigo’s fiery pop sensibility with Beret’s heartfelt delivery to create an anthem that dances on the ruins of a broken relationship. Over a catchy, urban beat, the two singers trade lines that feel like late-night voice notes: Where are you now? How’s life treating you? Their words reveal a story of betrayal and mixed signals—she nurtured the love like a flower while he let it rust, he promised the sky while claiming it never existed. The chorus repeats like a stubborn memory you can’t swipe away, showing how hard it is to forget someone who once felt like air in your lungs.
At its core, the song is a tug-of-war between lingering affection and hard-earned self-respect. Lola’s verses radiate determination: she refuses to be the “first” or the “love of his life,” choosing instead to heal on her own terms. Beret answers with regret, admitting he never found the right words before it was too late. Together they paint a vivid picture of two people orbiting the same heartache—close enough to feel the pull, wise enough to know a reunion would only reopen the wound. It’s a bittersweet reminder that sometimes the bravest move is letting the beat carry you forward while the past fades into the chorus’s final echo.
“Yo Ya No Quiero Ná” is Lola Indigo’s fiery way of saying Thanks, but I’m done. In the lyrics she faces down an ex who thinks she still dances only for him, yet Lola flips the script: she is the queen of the deck, playing by her own rules, and any lingering temptation is an apple she has already tasted. The repeated hook “Yo ya no quiero nada” (“I don’t want anything from you anymore”) becomes an anthem of self-worth, letting listeners know that her moves – on the dance floor and in life – are for herself alone.
Packed with playful swagger and mythic imagery (snakes, forbidden fruit, midnight darkness), the song celebrates personal freedom, female empowerment, and the thrill of dancing without strings attached. If someone tries to pull her back into old games, she warns she has a new medicine – confidence – and it is anything but addictive for those who want to control her. In short, Lola Indigo invites us to turn up the beat, reclaim our crown, and dance because we feel like it, not because anyone else demands it.