ORQUÍDEAS - Kali Uchis

Not even a few weeks into 2024, Kali Uchis’ fourth full length release is already a strong contender for AOTY. ORQUÍDEAS was written in hopes of “redefining the ways we view latinas in music,” and it does exactly that. The lyricism on this record celebrates self-love, female empowerment, and truly knowing your self-worth. This chameleon of an album, much like 2020’s Sin Miedo (del Amor y Otras Demonios), often mixes English and Spanish in the same song and dabbles in a variety of genres: reggaeton, dance-pop, and R&B, to name a few.

“¿Cómo Así?” (Like That?) begins the record with a club-ready banger, immediately teleporting the listener to an otherworldly discotheque. From its strange, enchanting chords to an absolutely stacked percussion, you’ll quite literally “never wanna leave.” Using her high vocal register and emulating a siren, Kali asserts her allure and dominance over her suitors. She knows her power; she could captivate you with just one look and easily get what she wants. But no matter how enamored you are, Kali warns you that, to gain her love, you cannot merely beg for it; you must truly earn it.

Once you do earn her love, what happens when you take it for granted? What if you break her trust and turn a loving relationship bitter? You get “Te Mata” (It Kills You), an anthem of hurt and liberation that recalls classic bolero and adds a grand, orchestral twist. Uchis has been very open about the meaning of this beautiful song: “This one’s about…when you let people hurt you and damage you and then finally you draw boundaries and now you’re the bad person.” Ultimately, “Te Mata” is this record’s emotional climax. This track finds Kali regaining her self-respect, standing up for herself, and mustering up the strength to finally leave a toxic relationship – even if it means being framed as the villain, a role she embraces with no regrets or apologies.

It isn’t until tracks such as “Tú Corazón Es Mío” (Your Heart Is Mine) when Kali Uchis does not have to worry about being loved shallowly wrongly. Just the day before ORQUÍDEAS released, Kali announced that she’s expecting her first child with Don Toliver, whom she began dating in 2021. This heartfelt love song is dedicated to Don, with a visualizer that shows off Uchis’ baby bump, Don caressing her belly, and the couple dancing together alongside childhood videos of them. The lyrics reflect Kali and Don’s mutual and long-lasting devotion, especially as soon-to-be parents: “Mi corazón es tuyo / Tú corazón es mío” (My heart is yours / Your heart is mine).

On “Igual Que Un Ángel” (Like An Angel), Kali collaborates with corridos artist Peso Pluma for a very dreamy disco track on top of a stunning bassline. Pluma sounds completely unlike himself, adding a little sass and softening his vocals in order to match Kali’s energy. Together, Uchis and Pluma find solace in someone who is quite like a heaven-sent angel. “Diosa” (Goddess) shares a similar sentiment, in which the female spirit is uplifted and magnified, compared to a “diosa total, la reina, la diva” (total goddess, queen, diva). These two songs share themes of empowerment and avoiding superficial love.

For the second half of this album, “Muñekita” (Little Doll) switches things up and brings in hyperactive dembow heat alongside JT from the City Girls and the iconic “King of Dembow” El Alfa. You might recognize an interpolation of Lorna’s “Papi Chulo… Te Traigo El Mmmm” in the refrain. It’s also worth noting that JT turns a common Latin saying into the funniest one-liner in the record: “Sana, sana, colita de rana, bitch” (heal, heal, little frog’s tail, bitch). This track is a mean one, pushing “thirsty hoes” and “broke bitch(es)” to the side. But at the heart of this song is a celebration of fellow muñequitas: women who are not only physically attractive but also too self-confident to be bothered.

“Labios Mordidos” (Bitten Lips) is another sizzling reggaeton cut that slows things down. Admittedly, this song took a while to grow on me. It isn’t as immediate as the irresistible groove of “Muñekita,” but it’s a solid collaboration with Karol G. The sensual minor key guitar layered on top of heavy reggaeton percussion complements Kali and Karol well. This track is also a unique sapphic anthem, celebrating female empowerment and women who love women in the same breath, and nothing screams gay rights like when Kali seductively raps “y esta noche soy lesbiana, tú me das las ganas” (and tonight I’m a lesbian, you give me the urge to).

Labios Mordidos single cover from https://kali-uchis.fandom.com/wiki/Labios_Mordidos

The penultimate track “Heladito” (Ice Cream) feels like a warm hug to Kuchis who are a huge fan of 2014’s Por Vida or Kali’s earlier sound in general. The jazzy, soulful vocals and lounge-like production make this the most Isolation-esque cut we’ve heard from her in a long time. Her lyrics are more profound than they may seem, centering on a love that doesn’t thrive off material things. Kali oozes both confidence and vulnerability, as she demands affection from her lover and knows truly what she desires.

Channeling Elvis Crespo and other classic 90s merengue, “Dame Beso // Muévete” (Give Me Kiss // Move) closes ORQUÍDEAS with an exciting fiesta. The brass is pumping through the speakers and Kali maximizes the grooviness for one last round. Things are nowhere near as sour as “Te Mata.” When Kali commands you to give her little kisses or even move your body, there’s no resisting it. This song is pure, infectious fun–a great way to end an already vibrant and florid album. And when Kali ends it with “until next time” and blows a heartfelt kiss, she means it and promises to blow our minds again with her next record.

Quite literally like an orchid, which can thrive in various habitats and even grow on wood and stone, Uchis showcases impressive versatility in ORQUÍDEAS. In this career highlight, she proves that she can accomplish musical excellence in whatever genre she pleases, ranging from party-ready reggaeton to dreamy ethereal dance-pop. Her musicianship and artistry also transcends language barriers, whether she chooses to sing in English or Spanish. Uchis even says it herself in “Heladito”: “No soy popstar, pero sí soy internacional.”

Elijah Santos