Learn Spanish with Corrido Tumbado Music with these 23 Song Recommendations (Full Translations Included!)
Por Las Noches lleva al oyente a esos momentos de desvelo en los que la mente viaja por recuerdos que huelen a perfume y saben a tequila. Peso Pluma pinta una escena íntima: sábanas blancas, piernas largas, ojos que son laberintos. El protagonista se siente atrapado entre la sensualidad de un amor casi sagrado y la dolorosa certeza de que esa persona ya no regresará. La canción mezcla la cadencia del corrido tumbado con imágenes muy urbanas -Clase Azul, champaña, "polvo color rosa"- para mostrar cómo el placer se convierte en anestesia cuando el corazón está roto.
Aunque intenta embriagarse de lujos y emociones fuertes, la realidad es clara: "Y pensar que tú ya no vas a estar". Ese estribillo repetitivo refuerza la soledad que queda cuando el beso se va y la habitación queda en silencio. "Por Las Noches" es, en esencia, un himno melancólico para quienes han amado a alguien intocable y ahora lidian con la ausencia entre copas y recuerdos, convencidos de que como esa persona no hay nadie más.
“Bebé Dame” blends the swagger of corrido tumbado with the swing of cumbia, as Fuerza Regida and Grupo Frontera team up to deliver a heartfelt plea for reconnection. The singer can’t stop thinking about a past love; every line is an invitation to come back, wrapped in playful charisma and raw desire. He imagines poems, midnight plans, and sunrise rendezvous, all while promising he will “do it differently” this time. The chorus repeats like a mantra: “Bebé… ven, dame” – baby, come, give me what my heart is craving.
Ultimately, the song is a romantic standoff where passion refuses to surrender. It paints love as both a battle and a fantasy, fueled by hopeful impatience and an irresistible beat. Whether you’re dancing or day-dreaming, “Bebé Dame” reminds you that sometimes the boldest move in love is simply asking for another chance.
“Nueva Vida” opens under the neon sky of a Mexican night as Peso Pluma rolls a smoke and checks his surroundings. He paints himself as siempre bien tranquilo – calm, unfazed, and thankful for the real friends who have backed him up. Rather than boasting about flashy cars or jewelry, he salutes the true riches he received from his parents: values, guidance, and the spirit of his late father who still lights the way. In classic corrido tumbado fashion, the music feels both relaxed and raw, giving us a front-row seat to a young man mapping out his destiny.
The second half of the song flips the spotlight onto change. Peso Pluma speaks of pensamientos nuevos and a nueva vida: a fresh mindset that attracts a few whispers of envy. He stays low-key, leaning on loyal crew members like el compita Rulas while trusting that time will sort the real from the fake. The message is clear: growth comes with shadows, but with humility, loyalty, and a watchful eye, the plans will fall into place. Listeners walk away feeling the mix of ambition and gratitude that fuels Peso Pluma’s rise – a relatable anthem for anyone stepping into their next chapter while keeping their roots intact.
**“LAGUNAS” dives into the hazy waters of memory and desire. Peso Pluma and Jasiel Nuñez paint the night with a bright moon, but the light only makes the singer’s heartbreak clearer. He deliberately keeps his distance from a woman he still loves, convincing himself it is better for both of them. While steering away, he keeps getting pulled back into mental “lagunas” – pockets of doubt and daydreams – wondering what it would feel like to kiss her forehead again.
This Corrido Tumbado blends raw regional guitars with modern urban flair, turning a simple love-gone-wrong story into a cosmic what-if. Maybe, the song suggests, on another planet their love worked out exactly as they wished. Until then, he swims through bittersweet memories, powered by a rhythm that’s equal parts heartbreak and swagger.
“Lady Gaga” plunges us into the glittering nightlife that Mexico’s new wave of corrido tumbado stars love to flaunt. Peso Pluma, Gabito Ballesteros and Junior H turn the corrido’s traditional storytelling toward 21st-century excess, bragging about Dom Pérignon, designer shades, Lamborghinis, powder-pink “tussi,” and journeys from private islands to Japanese seafood bars. Behind the flexing lies a coded salute to street hustle: triple-washed product, masked friends in RZRs, and a vow that nothing reaches Instagram. The message is clear: real bosses party hard, spend harder, and stay off the grid.
At the same time, the trio poke fun at curiosity about their identities—“¿Que quiénes son? Eso mismito me pregunto yo”—while hinting that every greeting comes with a wad of cash. Influencers, bandida lovers, and ice-bright smiles orbit their world, yet loyalty and secrecy are the price of admission. In true corrido fashion, “Lady Gaga” glamorizes danger and decadence while capturing the swaggering confidence of a generation that measures success in Cartier, Louis Vuitton, and the bass of Makabelico beats.
Peso Pluma’s “Bye” puts a modern Corrido Tumbado twist on the classic breakup anthem. Over a laid-back guitar groove, the Mexican artist faces the blurry dawn after a relationship ends. He admits the hurt is real (“al chile, sí me dolió”) but insists the ache is fading bit by bit. The song swings between nostalgia and bold self-assurance: one moment he is replaying memories of an ex, the next he is lighting up, pouring wine, and promising himself new “princesas” to keep his mind busy.
Behind the cool swagger lies a relatable message: sometimes love runs its course, and the healthiest choice is to wish the other person good luck and walk away. “Bye” captures that bittersweet crossroads where sorrow meets liberation, turning heartbreak into a toast to self-respect and fresh beginnings.
ZAPATA rides the wave of corrido tumbado, a modern fusion of regional Mexican corrido storytelling with hip-hop bravado. Peso Pluma uses the legendary revolutionary Emiliano Zapata as a symbol of fearless independence while narrating his own rise from border-town hustler to jet-setting mogul. Collectible weapons, limited-edition jewelry, Perrier in hand, and a Lamborghini Urus blaze across the lyrics, painting a picture of a young outlaw who has turned street savvy into a luxury lifestyle without ever showing his face to the masses.
Beneath the flashy details, the song celebrates resilience and calculated risk. Peso Pluma boasts that he is “moving in the fire” yet remains unscathed, proving that sharp instincts can outmatch danger. The refrain about sparking “one of the green” to de-stress hints at cannabis as both a ritual and a badge of rebellion. In short, ZAPATA is a swagger-filled ode to ambition, secrecy, and the thrill of living on the edge while cash flows in from every direction.
Buckle up for a midnight ride through California! Ojos De Maniaco paints a vivid picture of Junior H and LEGADO 7 cruising a sleek black Acura, bass booming with corridos, smoke curling in the air, and the speedometer flirting with triple digits. The party vibe is undeniable, but behind the thumping speakers and spinning tires lies a clear message: every luxury in that car was earned, not gifted. The artists tip their hats to long hours, sweat, and sacrifice, reminding listeners that even tacos taste better when you have worked for them.
Beneath the “maniac eyes” — a playful nod to red eyes from late-night hustle and a little recreational smoke — there is unwavering focus. The song celebrates grit: working, battling setbacks, leveling up, and never looking down while climbing higher. It is a high-octane anthem for anyone chasing dreams on their own terms, enjoying the journey, and proving that determination hits louder than any speaker system.
“Luna” is a bittersweet serenade in which Peso Pluma and Junior H turn the moon into their confidante. Over the mellow swagger of a corrido tumbado, the singers confess that they can no longer be near the woman they love, so they beg the moon to become her silent guardian. The lyrics paint a night-sky love triangle: she only the moon can see, they hidden in the shadows of heartbreak, and the ever-watchful lunar light that bridges the distance.
As the corrido unfolds, the artists mix nostalgia with acceptance. They acknowledge that she has moved on, yet they trust the moon to remind her of shared memories and to keep her safe. It is a poetic way of saying “I am letting you go, but my feelings still orbit you.” The result is a modern Mexican folk tale where heartbreak, loyalty, and cosmic imagery dance together beneath the silver glow of la luna.
Natanael Cano brings his signature corrido tumbado style to a tender love confession in “Mi Bello Ángel.” Over rolling guitars and laid-back regional rhythms, the singer portrays himself as a “simple poor devil” who’s been rescued by a heavenly figure. Meeting this woman feels like winning a cosmic lottery: she transforms his life, pulls him back from the brink, and makes every second feel otherworldly.
The lyrics spin a dramatic contrast between paradise and perdition. When she’s near, life feels like heaven; when she’s gone, he tumbles into an emotional abyss and “loses the rhythm.” Cano’s words capture the highs of infatuation and the vulnerability of dependence, all while celebrating the idea that love can rehabilitate even the most lost soul. It’s a passionate ode to the person who turns chaos into clarity, set to the modern corrido beat that has made the young Mexican artist a trailblazer.
AMG throws you straight into the driver’s seat of a glossy Corridos Tumbados joy-ride. Natanael Cano, Peso Pluma, and Gabito Ballesteros celebrate the sweet taste of success: they cruise in a Mercedes AMG G-63 and a snarling GT-R, pop champagne on private jets, and gaze over the lights of Mazatlán. The mood is flashy, proud, and relentlessly upbeat, showing how dreams scribbled in a notebook can become horsepower, designer sneakers, and stacks of cash.
Beneath the luxury, the trio keeps one eye on the rear-view mirror. Lines about a “lista negra” and staying “alerta” remind us that climbing from struggle to stardom carries risks. AMG is both a victory lap and a warning: enjoy the spoils, guard your circle, and never forget where you started.
Mas Altas Que Bajadas is Natanael Cano’s victory lap. In this corrido tumbado he rewinds to the days when he had nothing, gambled everything, and trusted that hard work plus a little divine luck would tip the scales. He remembers being mocked, wearing borrowed clothes, and risking it all in “la jugada,” but now the highs outnumber the lows. Cano can finally buy his own outfits, and he reminds us that life is never as “pelada” (easy) as it seems—yet anything beats having nothing at all.
The second half of the song flashes the spoils of his grind: Cartier watches, designer drip, a Mercedes that never quits, and enough cash to need a counting machine. Still, the swagger comes laced with loyalty and warning shots. He shouts out his rough Los Ángeles barrio origins, vows fierce protection of his daughters, and keeps a “cortita” (handgun) close in case anyone tests him. Beneath the diamonds and bravado you hear a simple message: stay true to where you came from, work harder than everyone else, and never forget that the climb is worth every scar.
PRC plunges you into a high-octane morning with Peso Pluma and Natanael Cano, two of Mexico’s leaders in the corrido tumbado wave. Over a fusion of regional guitars and urban bass, they paint a vivid, first-person picture of a young smuggler’s routine: wake up, roll something strong, field nonstop phone calls from flirty girls or eager clients, then zip across the border with bundles of “polvo, ruedas y cristal” (powder, pills and crystal meth). The adrenaline rush is sound-tracked by swaggering trumpets and luxury shout-outs to Balenciaga and Louis Vuitton, reminding listeners that the under-the-table hustle bankrolls an over-the-top lifestyle.
At its core, the song is both a celebration and a confession. The artists glorify fast money, late-night parties and the thrill of never looking back, yet the constant refrain “no puedo fallar” hints at the razor-thin line between success and downfall. PRC is less a cautionary tale and more an unapologetic snapshot of modern corridos: raw, flashy and unfiltered, inviting learners to explore contemporary Mexican slang while feeling the pulse of street-level storytelling.
“Vino Tinto” pours listeners a glass of pure corrido tumbado swagger. Peso Pluma, Natanael Cano, and Gabito Ballesteros toast to their rise from scarcity (no tortillas on the table) to a life overflowing with cash, designer labels, techno parties, and endless adrenaline. The red wine is their remedy for old wounds, while the lyrics flash images of luxury cars, Coco Chanel, and long hair like Pablo Escobar’s, all wrapped in an easygoing “ando relax” attitude.
Beneath the flexing, the trio remind us they earned their throne through hustle and loyalty. They call out those who forgot the hand that once helped them, celebrate the brotherhood that still stands strong, and reveal a three-step playbook: make the money (Plan A), spend it big (Plan B), and, if needed, dip back into risky business (Plan C). The result is an anthem that mixes bravado, nostalgia, and fiesta vibes, inviting learners to taste the bittersweet flavor of success in today’s Mexican urban culture.
Mi Terre CLN throws you straight into the action-packed world of corridos bélicos, where swagger, street loyalty, and blazing trumpets march side by side. Sung from the point of view of “09,” the song paints a vivid picture of life in Culiacán, Sinaloa: armored convoys roar through town, rifles are always within reach, and allegiance to the JGL Cartel (linked to Joaquín El Chapo Guzmán) is a source of fierce pride. Think Scarface meets regional Mexican music: the narrator vows to fight to the end, flaunts stacks of cash, and names the cartel chiefs—Alfredo, Iván, and Piyi—who keep the operation running.
Behind the bravado lies a deeper cultural snapshot. Fuerza Regida and Juanpa Salazar blend traditional corrido storytelling with modern urbano energy to spotlight the dangers, codes of honor, and sense of belonging that define many young people’s reality in Sinaloa. The lyrics celebrate cleverness over fear, the rush of “billetes verdes” over caution, and, above all, unwavering loyalty to one’s tierra—a reminder that pride in home can be as risky as it is powerful.
Igualito A Mi Apá is a swagger-filled corrido tumbado that celebrates legacy, power, and style. The singer proudly declares that he is “just like my dad,” inheriting not only his father’s golden-gripped pistol but also his taste for luxury clubs, designer shades, and fast-moving business. Between Culiacán and La Humadera he rides in a white Suburban, lighting up premium BackPack Boyz and effortlessly dodging the authorities.
While the beat stays laid-back, the lyrics mix calm confidence with a clear warning: troublemakers should keep their distance because he is always protected by loyal people. In flashy nightclubs he blows clouds of smoke, spends freely, and turns heads (“the Barbies go crazy when they see me spend”). Behind the bravado lies a simple message—family influence runs deep, and when you combine inherited respect with modern ambition, you live exactly how you want, no matter what others say.
“Sabor Fresa” plunges us straight into a flashy, bottle-popping night where Fuerza Regida celebrates success, swagger, and the thrill of living in the fast lane. The narrator orders champagne for the whole crew, shows off his dance moves, and surrounds himself with stylish women who love to perrear. Every line oozes confidence: the expensive outfits hit the floor, high-end seafood appears on demand, and the party rolls on till dawn without a hint of fatigue.
Beneath the party glow sits a typical Corrido Tumbado attitude: street-born bravado meets modern luxury. The singer tips his hat to faith (“ya me confesé el rosario”) yet warns rivals that he will not hesitate to defend his status. Ultimately, “Sabor Fresa” is a bold anthem of victory—an invitation to drop your worries, taste the sweet life, and keep the celebration raging as long as the music plays.
“BABY HELLO” is a flirty, after-hours invitation where Puerto Rican star Rauw Alejandro slides into someone’s DMs after spotting her “Close Friends” story on Instagram. Over Bizarrap’s pulsing club beat, he paints the picture of two people who know each other’s bodies better than any GPS: they decide on a time, he picks the place, and the night becomes a throwback to their steamy motel days. It is playful, confident, and unapologetically sensual, turning modern digital flirting into a high-energy reggaetón rendezvous.
Behind the catchy hooks lie themes of spontaneity, chemistry, and nostalgia. Rauw celebrates a partner who is independent, glamorous, and up for adventure, while Bizarrap’s slick production keeps the party atmosphere buzzing like caffeine with yerba mate. In short, “BABY HELLO” is a soundtrack for bold texts, late-night drives, and that electric moment when a casual “hello” sparks a night you will never forget.
Descansando invites you to ride shotgun with Arturo, a fearless truck enthusiast who speaks to us from beyond the grave. With an upbeat corrido groove, he recounts his final dawn drive, thanks everyone for their prayers, and relives the rush of roaring motors, ice-cold beers, and epic late-night chats that defined his days in Houston. Far from gloomy, the track turns loss into storytelling gold, mixing lively instruments with heartfelt confessions to keep listeners nodding along while wiping a tear.
Instead of lingering in sorrow, Arturo throws a celestial celebration. He promises to hug his dad when the wind blows, kiss his mom when the rain pours, and guard his beloved daughters whenever engines rev. Between affectionate shout-outs to his crew and loving instructions to take life “más tranquilo,” the song reminds us to cherish family, honor friendships, and squeeze every ounce of joy from the ride before the road runs out.
GAVILÁN II drops you straight into the high-octane world of Sinaloa’s cartel corridors. Peso Pluma and Tito Double P voice a fearless operative who “likes to work,” prays to the devil, and answers to the legendary Guzmán clan. He rolls through Culiacán in homemade armored Cheyennes, flanked by ex-military commandos and rifles you “can’t even imagine.” The message is clear: in this territory action speaks louder than gossip, and anyone who misbehaves ends up in the fosa (the pit).
Beneath the gunfire imagery, the song highlights a rugged code of honor—discipline, loyalty, and pride in the craft of survival. The protagonist cools his nerves with tobacco, carries scars like medals, and keeps pushing forward, confident he is “still in command.” Blending traditional corrido storytelling with trap swagger, GAVILÁN II offers a raw, unfiltered look at modern narco culture and serves as a thrilling tool for learners eager to explore real-world slang, regional references, and the pulse of contemporary Mexican music.
Ella plunges us straight into a neon-lit Mexican nightclub where the narrator is riding a cocktail of adrenaline, alcohol, and smoke. Amid flashing lights and thumping beats he locks eyes with a stunning stranger. The song paints their electric first encounter: from hesitant shoulder tap to bodies pressed close on the dance floor, every detail captures the intoxicating rush of “love at first sight” wrapped in late-night revelry.
After a whirlwind of dancing, drinks, and passion, the pair end up together until sunrise, only for her to vanish with the daylight. What follows is pure yearning. Back in the club, he lights another joint and scans every face, replaying memories of her smile and praying for a second chance. Junior H turns a fleeting hookup into a bittersweet story of instant attraction, youthful excess, and the haunting hope that lightning might strike twice.
“Por Las Noches (Remix)” invites us into a bittersweet after-hours confession where Peso Pluma and Nicki Nicole swap memories like late-night texts. Wrapped in the modern Corrido Tumbado sound, the lyrics paint a vivid picture of two lovers replaying sensory snapshots: the lingering perfume, white sheets that once felt like a secret hideout, and hypnotic eyes that turned passion into an inescapable maze. Each detail shines like a “joya de oro,” reminding them how irresistible the connection once was.
Yet beneath the sensual flashbacks lies a painful truth. Both artists realize this is likely their last encounter, and every kiss risks turning into a final goodbye. The chorus captures that tug-of-war between hope and resignation: trying one more time, only to see the other drift away again. The song becomes a lament for love that stays stuck in yesterday, leaving a haunting question echoing in the night: if everything we gave was “para nada,” why does it still hurt so much?
VVS pairs the guitar-driven swagger of corrido tumbado with a victory lap narrative. Peso Pluma, Edgardo Nuñez and Los Dareyes De La Sierra look back at the days when people dismissed them for being broke and unproven, then fast-forward to the present where VVS diamonds, Gucci fits and a garage full of sports cars prove just how far hard work can take you. The flex is loud, but it is also a statement: you have to be más cabrón—tougher, smarter, more relentless—to turn nothing into something.
Beneath the glitter, the song carries a code of honor. Money is nice, loyalty is priceless. The artists mock clout-chasers, reaffirm their respect for the friends who helped them climb, and remind haters that real success means staying the same person even when life levels up. In short, “VVS” is both a celebration of earned luxury and a lesson on authenticity wrapped in a modern Mexican street anthem.