Aleman, a Mexican artist, gives this song a sharp mix of success, emptiness, and street life. He opens with “Me estás matando” [You’re killing me], then contrasts “Un concierto lleno, una alma vacía” [A full concert, an empty soul]. The crowd is there, but he feels hollow. He talks about calling “al bueno” [the right guy, or a trusted contact] instead of the police, remembering his barrio while trying to forget his own life, and living with daily “loqueras” [wild behavior or reckless episodes]. The barrio is “caliente” [hot or dangerous], while his movements are smooth enough for a quick “goodbye love.” His references to tango, Rambo, and Valdez make him sound passionate, tough, and a little theatrical all at once.
Then the song turns toward someone who is gone. At six in the morning, he sits by the beach with a bottle, thinking about this person and wishing they were there. “Pero ni pedo, así fue” [But whatever, that’s how it was] is a Mexican expression of bitter acceptance. He says, “Te moriste” [You died], followed by “Fuck you! Jódete, vete al demonio!” [Fuck you! Screw you, go to hell!], so grief and anger crash into each other. He claims he left to forget, imagines himself sitting on a unicorn, and says he has gone a week without sleep, blaming “puro gallo y el perico” [cocaine and other drugs, in slang] rather than insomnia. It is funny in a dark, exaggerated way, but the empty soul, the beach at dawn, and the sleepless nights keep pulling the song back to someone he cannot escape.