Singer-songwriter Kali Uchis was born to a Colombian father and American mother, and she combines the two sides of her heritage through her music. Her music can be broadly categorized as R&B, but it’s nothing short of genre-defying. Uchis sings in “Spanglish,” switching between Spanish and English to showcase both sides of her culture.
“Orquídeas” is Uchis’s fourth album (in addition to one EP) and her second primarily Spanish project, and it’s a little bit different from most of her previous work. In her latest album, Uchis explores genres not typically seen in the mainstream, including Latin disco, mariachi, and salsa. “Orquídeas” translates to “orchids,” which is Colombia’s national flower–again, calling back to the singer’s heritage.
“This album is inspired by the timeless, eerie, mystic, striking, graceful, and sensual allure of the orchid,” Uchis said in a statement.
Uchis composed her album with a purpose in mind: to create something fresh and change the way Latinas are viewed in music. Although I can’t speak to that, I picked up on notes of empowerment and poise. Additionally, I must note that I don’t know a lick of Spanish, making me perhaps an unlikely Kali Uchis enjoyer, but, regardless, a very dedicated one.
The album opens with Uchis giggling and screaming seductively and teasingly, setting up for what I knew was going to be an album displaying feminine joy and confidence. With the first track “¿Como Así?,” Uchis tells her audience that she’s thriving and that she should be seen as priceless to any admirers. She sings, “Baby, si sabes mi valor / Pa mi amor te toca trabajar” (“Baby if you know my worth / For my love, you have to work”)—and Kali Uchis most definitely knows her own worth.
Other songs continue with the themes of self-love present in “¿Como Así?” For one, “Peradiste” was one of my favorites from the album and is addressed to an ex-romantic partner who lost Uchis. She emphasizes that she has the self-respect to never go back to that person.
“Igual Que Un Ángel” features Peso Pluma and tells the story of a girl who is beautiful and secure in herself (presumably a representation of Uchis). The song is another hit, but I think Uchis far upstaged Pluma—she sounded absolutely angelic, especially in the opening of the song. “No Hay Ley Parte 2” is a remake of her 2022 single “No Hay Ley,” this time featuring Rauw Alejandro. It is yet another beautiful piece, but I found myself, again, ignoring Alejandro to focus on Uchis. These two features didn’t particularly add to my enjoyment, but it’s perhaps fitting that, on an album about female empowerment, Uchis consistently outdoes her male featured artists.
Uchis flaunts her successful romantic life on “Orquídeas”; she is in a seemingly happy relationship with fellow singer Don Toliver, with whom she is having a child, as she recently revealed. “Diosa” describes a relationship in which Uchis is treated as the queen she is. Similarly, “Young Rich & In Love” chronicles a healthy relationship and leans into the sexual aspect.
I’m simply obsessed with the way Uchis owns her sexuality as a woman, and I find “Orquídeas” to demonstrate that even more so than her previous albums. Songs like “Muñekita” and “Heladita” fully embrace sexuality and make for fun listens. “Labios Mordidos” emphasizes Uchis’s desirability across the lines of gender, as she herself is bisexual. Uchis isn’t new to pushing the boundaries of love in her music—“Love Between…” (2023) introduces the idea that love transcends gender.
I especially enjoyed hearing Uchis branch out from her older music, incorporating aspects of more traditional Latin genres. “Muñekita” and “Dame Beso // Muévete” stood out to me in that regard.
Finally, I couldn’t justify writing a review without mentioning my favorite track on the album: “Te Mata.” “Te Mata” was the second single off of “Orquídeas” to be released, and I believe it to be the best choice for a single. If I, alone, determined how to promote the album, I would advertise “Te Mata” every chance I got. This song is absolutely fantastic and quintessentially Latin. As a bonus, Uchis narrates a tale of a miserable relationship and finally finding happiness after it ends.
As a cohesive project, “Orquídeas” is excellent—I found myself feeling empowered while listening. Although it’s just an album, Uchis brought very real topics to attention and defies misogyny in the most lighthearted way possible. If I learned anything from Kali Uchis after listening to “Orquídeas,” it is that confidence can come if you simply own your flaws and strengths; in other words, fake it ‘til you make it.
