RAMEN PARA DOS Lyrics (English Translation) – Maria Becerra

RAMEN PARA DOS Lyrics (English Translation) by María Becerra, Paulo Londra & XROSS is a new spanish song by María Becerra, Paulo Londra, and XROSS. The track was released on María Becerra’s official YouTube channel, written by María Becerra, Paulo Londra, and XROSS, and produced by XROSS and María Becerra. Although not tied to an album at the time of release, the song delivers a deeply emotional and urban-infused soundscape, blending heartfelt lyricism with modern Latin pop and trap elements to create a raw, introspective experience.

The song explores the aftermath of a broken connection, capturing the emotional fallout of miscommunication, longing, and psychological conflict between two people who were never truly together yet deeply entangled. María Becerra and Paulo Londra take turns expressing their individual perspectives—hers rooted in yearning and heartbreak, his in defense and self-preservation—resulting in a dual narrative that portrays emotional imbalance, misunderstood intentions, and unresolved tension. The recurring motif of “ramen para dos” becomes a symbol of loneliness and unfulfilled love, reinforcing the illusion of a relationship that was more imagined than real.

RAMEN PARA DOS Details

Song	RAMEN PARA DOS
Artists	Maria Becerra, Paulo Londra & XROSS
Written By	Maria Becerra, Paulo Londra & XROSS
Produced By	XROSS & Maria Becerra
Label	Maria Becerra
Language	Spanish
Released Date	May 9, 2025

RAMEN PARA DOS (English Translation) Lyrics

[Verse 1: María Becerra]
I haven’t heard from you in seventeen days
My psychologist told me you’re running away from me
Where are you, that you’re not answering your phone?
You left me alone, baby, what’s wrong? You left
It better be because you died
Oh, how can that be? He doesn’t want to see me
I stood at the door of your house waiting for you yesterday
Where are you?

[Pre-Chorus: María Becerra & Paulo Londra]
Even the walls tell me about you
It’s been a while since I last spoke to you
And if they ask me, I pretend I don’t
Baby, it’s just your imagination
I keep ordering ramen for two
But we were never the two of us
I play old audio recordings to hear your voice (How?)

[Chorus: María Becerra & Paulo Londra] Paulo Londra]
Since the day you left
I don’t know why the fuck you didn’t come back
I’m still clinging to something that doesn’t exist
Thinking that you forgot me is so sad (So sad)
Since the day you left (No, no, no, no, no)
I don’t know why the fuck you didn’t come back (No, no, no, no, no)
I’m still clinging to something that doesn’t exist
Thinking that you forgot me is so sad (Oh-oh, no, no)

[Verse 2: Paulo Londra]
I wish we could talk without having to yell
He has more imagination than honesty
If I walked away it was only out of necessity
That intensity isn’t for me
It’s obsession, it’s not love, now the psychologist is for both of us
You claim you love me as if you knew me
I hope someone sees the situation
Please understand
How can something that didn’t start end? We’re going from bad to worse, and no one believed me.
Everyone thinks I’m the fool and the bad guy.
I don’t know what to do. I go out for a run, but I see you everywhere.
Like Pucca and Garu, you’re crazy like Helga. Hey, Arnold!

[Pre-Chorus: Paulo Londra & María Becerra]
Even the walls are talking to me about you.
You don’t understand that I need you.
And if they ask me, I say no.
I know it’s not just my imagination.
Baby, understand that I’m better off alone.
Ramen for two.
So I ask you, don’t call the phone (What?)

[Chorus: Paulo Londra & María Becerra, Both]
Since I left, I know (No, no, no)
That the scars would remain (No, no)
I had to walk away so as not to hurt you
It’s no use to keep talking (Let’s go, yeah)
Since I left, I know (No, no, no)
That the scars would remain
I had to walk away so as not to hurt you (Okay)
It’s no use to keep talking

[Verse 3: María Becerra]
Lady, ah
Baby, I’m crazy and you want a Miss Stacy
I used to put your song on my playlist
You preferred that fucking Basic
After what you did to me
Staying makes no sense
Hey, wait, I’m so excited to shoot you
And die with you, fuck them

[Pre-Chorus: María Becerra & Paulo Londra, Both]
And I don’t know why the fuck you didn’t come back (No, no, no, no, no, no, no
No)
It’s no use to us if we keep talking.

[Chorus: María Becerra & Paulo Londra]
Since the day you left (You left)
I don’t know why the fuck you didn’t come back (You didn’t come back)
I’m still clinging to something that doesn’t exist.
Thinking that you forgot me is so sad (So sad).
Since I left, I know (No, no, no)
That the scars would remain (No, no, no).
I had to walk away so as not to hurt you (Something that doesn’t exist).
It’s no use to us if we keep talking. (So fucking sad).

[Outro: Paulo Londra & Paulo Londra]
Since the day you left (You left)
I don’t know why the fuck you didn’t come back (You didn’t come back).
I’m still clinging to something that doesn’t exist.
Thinking that you forgot me is so sad (So sad).
Since I left, I know (No, no, no).
That the scars would remain (No, no, no).
I had to walk away so as not to hurt you (Something that doesn’t exist).
It’s no use to us if we keep talking. (So fucking sad).

[Outro: Paulo Londra & Paulo Londra]
Since the day you left (You left)
I don’t know why the fuck you didn’t come back (You didn’t come back).
I’m still clinging to something that doesn’t exist.
Thinking that you forgot me is so sad (So sad).
I’ve known since I left (No, no, no).
That the scars would remain (No, no, no).
I had to walk away so as not to hurt you (Something that doesn’t exist).
It’s no use to us if we keep talking. (So fucking sad).

[Outro: Paulo Londra & Paulo Londra María Becerra]
Hey, hey, Lions with Flow (Yeah, yeah, yeah)
Paulo Londra
And La Nena from Argentina (Yeah, yeah, yeah)
Tell me, XROSS
Two, two, three

RAMEN PARA DOS Lyrics Meaning

[Verso 1: María Becerra]
María Becerra opens the song with a sense of desperation and emotional confusion, emphasizing her mental toll after seventeen days without contact. Her visit to a psychologist and unanswered phone calls point to her growing anxiety and emotional dependency. Her dramatic suggestion that the only acceptable excuse for the silence would be death underscores her emotional instability and sense of abandonment. This verse paints her as someone who is spiraling, unable to process being ignored, and stuck in denial over the end of a connection that may have never been fully real.

[Pre-Estribillo: María Becerra & Paulo Londra]
This section illustrates María’s internal conflict. She’s haunted by memories—so vividly that even the walls remind her of the other person—yet she pretends to others that nothing is wrong. The line “ramen para dos” becomes a metaphor for her illusion of shared love, revealing that the relationship was perhaps one-sided. The use of old voice notes suggests she’s clinging to fragments of intimacy that no longer exist, making her suffering feel quietly obsessive.

[Estribillo: María Becerra & Paulo Londra]
Here, the chorus captures the emotional climax of her pain. María laments the absence of closure and her continued attachment to something intangible. The profanity underlines her frustration and heartbreak, while the repetition of being “aferrada a algo que no existe” (clinging to something that doesn’t exist) emphasizes the emptiness she’s come to accept. This refrain solidifies the central theme of mourning an illusion rather than a real relationship.

[Verso 2: Paulo Londra]
Paulo Londra counters with his side, revealing that his withdrawal was out of necessity rather than malice. He accuses María of misinterpreting his actions due to her imagination and intensity. His reflection touches on emotional incompatibility and the strain of dealing with obsessive behavior. He likens their dynamic to fictional, extreme character pairings like Pucca and Garu or Helga from Hey Arnold!, illustrating how chaotic and unbalanced their connection felt from his point of view. This verse reframes the narrative, shifting blame and offering emotional nuance.

[Pre-Estribillo: Paulo Londra & María Becerra]
Now it’s Paulo who confesses that he too is haunted by memories, but he insists that solitude is better for him. While María is begging for contact, Paulo sets a boundary, reiterating that continuing to communicate would only cause more harm. The mention of “ramen para dos” returns, this time from his perspective, reinforcing the shared yet mismatched symbolism of a love that never quite aligned.

[Estribillo: Paulo Londra & María Becerra, Ambos]
This chorus reiterates the mutual pain but from Paulo’s point of view. He acknowledges that leaving caused wounds but insists it was necessary. Both artists now admit that staying in contact is counterproductive, adding a layer of resigned acceptance to the narrative. The dual delivery suggests a moment of rare emotional clarity between them, where both see the futility in clinging to something broken.

[Verso 3: María Becerra]
María erupts in raw emotion, shifting from sadness to anger. She expresses frustration over being replaced by someone she deems inferior, labeling the new girl as “basic.” Her mental instability surfaces again, joking about violence and even a shared death, showing how deeply the experience has affected her. This verse is the emotional crescendo of her pain, exposing how betrayal has transformed her love into rage and despair.

[Pre-Estribillo: María Becerra & Paulo Londra, Ambos]
This transitional moment reinforces the futility of continued communication. It reflects both artists reaching a common ground of emotional exhaustion, echoing the line that talking any further won’t help. It captures the cyclical pain of unresolved relationships and the helplessness that follows.

[Estribillo: María Becerra & Paulo Londra]
In this final chorus, the emotional threads converge. María continues grieving the fantasy of a love that never solidified, while Paulo reflects on the scars left behind. The tension between their pain and need for distance underscores the tragedy of emotional misalignment. The repetition of “algo que no existe” serves as the lasting echo of the song, a poetic lament for something that was never really there.

[Outro: Paulo Londra & María Becerra]
The outro credits the artists and producer, closing the song on a unified note. While the lyrical narrative ends unresolved, this outro signifies that both artists have shared their truths, offering listeners a dual-sided story of love, delusion, and emotional fallout.

RAMEN PARA DOS Official Video

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