Medellín
Madonna Lyrics

One, two, one, two
Beginning the song with a count-in to establish rhythm

One, two, cha-cha-cha
Continuing the count-in with instructions to start dancing the cha-cha-cha

One, two, two, one
Quickly changing up the count-in to keep dancers on their toes

Two, one, cha, cha-cha-cha
Another change in the count-in to mix things up further

I took a pill and had a dream (yo también)
Admitting to using drugs to escape reality and have a dream-like experience

I went back to my 17 year
In the dream, going back to a younger age where life seemed simpler

Allowed myself to be naive (dime)
Being open to new experiences and allowing herself to be innocent and naive

To be someone I've never been (me encanta)
Enjoying the freedom of being someone new and not confined to her usual self

I took a sip and had a dream
Continuing the drug reference, suggesting that taking a sip of something also led to a dream-like experience

And I woke up in Medellín (¿Te gusta?)
Waking up in the Colombian city of Medellín, which could be interpreted both literally and metaphorically as a place of new beginnings and adventures

The sun was caressing my skin (dime)
Describing the pleasant physical sensation of the warm sun on her skin

Another me could now begin (woo)
The experience allowed her to become a new version of herself, with new opportunities and possibilities

Tranquila, baby, yo te apoyo
Assuring someone to calm down and offering support

No hay que hablarnos mucho para entrar en rollo
Not needing to say much to establish a connection and vibe

Si quieres ser mi reina pues yo te corono
Offering to make someone his queen and treat her extravagantly

Y pa' que te sientes aquí tengo un trono
Implying that he has everything she could want or need, including a throne to sit on

Te gusta cabalgar, eso está claro
Suggesting that she enjoys taking control and leading, both in dance and in life

Si sientes que voy rápido le bajo
Offering to slow down if she feels uncomfortable or overwhelmed

Discúlpame, yo sé que eres Madonna
Apologizing for being too forward or assuming too much, recognizing that the person he is addressing is the famous singer Madonna

Pero te voy a demostrar cómo este perro te enamora
Promising to show her how he can make her fall in love with him like a dog would be loyal and affectionate

Ven conmigo, let's take a trip
Inviting her to go on a journey with him

Si te llevo pa' un lugar lejano
Suggesting that he might take her to a distant and exotic location

Ven conmigo, I'll be so good for you
Continuing the invitation and promising to take good care of her

Te enamoro, te enamoro, mami (ay-ay-ay)
Repeatedly emphasizing his intention to make her fall in love with him

Dame de eso que tú estás tomando
Asking to try what she is drinking

(Ay-ay-ay)
An expression of excitement or surprise, possibly also emphasizing the sensuality of the situation

Sipping my pain just like champagne
Using a metaphor to describe how drinking can help her forget her troubles and make her feel luxurious

Found myself dancing in the rain with you
Sharing an intimate moment with someone, perhaps even in a vulnerable or exposed state

I felt so naked and alive (show me)
Feeling free and uninhibited, possibly also suggesting a sexual connotation

For once I didn't have to hide myself (dice)
Revealing a part of herself that she normally feels she has to keep private or hidden

Oye mamacita, ¿qué te pasa? (Dime)
Addressing a woman with a flirtatious or playful tone, asking what is going on with her

Mira que ya estamos en mi casa (yeah)
Suggesting that they are in a private and intimate setting where anything could happen

Si siente' que hay un viaje ahí en tu mente (woo)
Picking up on her thoughts or intentions, possibly suggesting he can read her mind

Será por el exceso de aguardiente (dile)
Blaming any wild or irrational thoughts or behavior on the consumption of alcohol

Pero, mami, tranquila, tú solo vacila
Encouraging her to relax and have fun without worrying about anything else

Que estamos en Colombia, aquí hay rumba en cada esquina
Pointing out the festive and lively atmosphere of Colombia, where music and dancing are common and celebrated

Y si tú quieres nos vamos por Detroit (tú sabe')
Suggesting that they could go anywhere and do anything, even something unexpected like visiting Detroit

Si sé de dónde vienes pues sé pa' donde voy
Implying that he can read her vibes and understand her needs and desires

Ven conmigo, I'll be so good for you (okay)
Repeating the invitation and reassuring her that he will make her happy and satisfied

Si te enamoro (si me enamoras)
Continuing the theme of falling in love with each other

En menos de un año, no, no (hahaha)
Laughing and acknowledging that falling in love quickly might seem ridiculous or impossible

No' vamo', no' vamo', no vamo' pa' Medallo (ay, qué rico)
Deciding not to go to Medellín, but expressing how delicious it would be to go there

Es lo que amo, no, no
Stating that this is what he loves and what makes him happy

Pue' mami, pue' mami, pue' mami, nos casamos (Cha-cha-cha)
Jokingly proposing to her, using the cha-cha-cha rhythm as part of the fun

One, two, slow down, papi (woo)
Changing up the count-in again, this time with instructions to slow down

One, two, ay-ay-ay
Matching the count-in to the rhythm of the song and emphasizing the sensuality and playfulness

We built a cartel just for love
Using a metaphor to describe the strong and exclusive bond they have created

Venus was hovering above us (oh, yeah)
Adding a romantic and mythological element to their connection, suggesting that love and passion are guiding them

I took a trip, it set me free (mi reina)
Returning to the idea of taking a transformative trip and feeling liberated and empowered

Forgave myself for being me (ay-ay-ay)
Embracing oneself fully and accepting one's flaws and strengths

En menos de un año, no, no
Repeating the idea that love can happen quickly and unexpectedly

One, two, slow down, papi
Repeating the count-in as a way to mark the end of the song

One, one, two, two
Focusing on the rhythmic aspect of the song and ending with a playful count-in

Cha, cha-cha-cha
Ending the song with the same instructions that began it, bringing the focus back to dancing and movement