“Cual Es Esa” is Feid’s neon-lit postcard from a Colombian party circuit that never sleeps. Over a thumping reggaetón beat, the Medellín star and Pirlo trade verses that paint a VIP panorama: Medellín or Cali, private rooms, sunglasses at sunrise and cash carpeting the floor. Feid invites a daring love-interest to drop everything, slip into the scene “sin ropa,” and move her body to the perreo that “le sienta mejor.” In the middle of the flashing lights he flexes—bottles popping, entourage in tow, ten admirers at his side—showing how his childhood daydreams of fame have finally exploded into reality.
But beneath the swagger lies a cat-and-mouse game of desire. The woman who once kept her distance suddenly wants back in, tempted by Feid’s new “poder.” She’s a “loba, gata, bandida” who stays quiet, avoids jealousy, yet demands whatever she wants before the night is over. The hook “¿esa cuál es, ome?” mirrors the chaotic energy of choosing thrills in the club while hinting at skepticism toward late-night promises. Altogether, the song is a brash celebration of status, seduction and the irresistible pull of the dance floor—an audio snapshot of Colombia’s urban nightlife in full, unabashed swing.