So…I’m obsessed with ADÉLA.
Hailing from Bratislava, Slovakia, Adéla Jergová (known mononymously as ADÉLA) took her first steps into the spotlight through the YouTube series The Debut: Dream Academy, which later turned into the Netflix reality TV series Pop Star Academy, infamous for churning out the ever controversial global girl-group, KATSEYE. Despite getting eliminated early on in the show, Jergová returned to the spotlight a year later, fully equipped with pink hair and an insatiable hunger for stardom.
On August 22, 2025, ADÉLA released her first EP, The Provocateur, noted by tracks like “Superscar” and “SexOnTheBeat”. Her work was immediately met with critical acclaim, earning her 2 million monthly listeners on Spotify and a dedicated fan base who adore her confident attitude, raw honesty, and unique style.
Now, she has just released her debut album PRIMA on September 4, 2026, a little over a year after her initial debut.
Her hair is pinker. The budget is higher. She’s still hungry.
This is my review of PRIMA by ADÉLA, with thoughts explaining my rating on each track:
MAIN ALBUM TRACKS
“KGB” – 8/10
There isn’t a better way to open an album than with a song like this. I’m pitching the alternative title for “KGB” to be “Cunt(y)”. It’s funky, cheeky, sassy, and is garnished with a dash of spunk. ADÉLA opens her debut album with a song that encapsulates her history, determination, and attitude in a quick 2 minutes and 37 seconds. For some historical context, the KGB was the “foreign intelligence and domestic security agency of the Soviet Union”(Britannica). ADÉLA calls back to both her Eastern European heritage and her personal upbringing, briefly discussing her life in Slovakia and her dreams of stardom starting at a young age.
“KGB” is bitchy in the best way possible and it makes me want to invest in tight leather pants and stilettos. The only reason why it’s not getting a 10/10 is because, since it was a pre-release, I probably overplayed it. Plus, compared to the other songs on this album, it’s not quite my favorite; however, it still stands out as one of the best songs on the album and was undoubtedly the best way to open her debut album.
“Nicole Kidman” – 10/10
The ultimate get-ready-with-me song. I’m imagining standing at my bathroom mirror, holding a mascara wand in one hand and a cigarette in the other.
I think my favorite part about ADÉLA’s song writing is how she’s vulgar yet playful in everything she does. Like…yes! Every single night I am praying that my tits are sitting right! Her writing is addicting because of that contrast consistently present in her tracks.
“Nicole Kidman” is, sonically, a much tamer track compared to the majority of her discography up until this point. There’s no screaming, no “crunch”, and a smoother flow to the song overall. Instead of whipping our hair and breaking our backs, we’re doing slow body rolls and dragging freshly-manicured nails across skin. It’s sultry, tantalizing, and confidence-boosting. I love everything about it. 10/10.
“I’m The Man” – 9/10
This song feels like the “night-in” version of “Nicole Kidman”. I feel like I’m in the smallest pajama set, painting my toenails and writing in my diary with a fluffy pink pen. The instrumentals sound like glitter and vanilla candles if vanilla candles could make a noise. If there was a music video for “I’m The Man”, it’d feel like a sleepover with low light and fluffy blankets; however, the actual lyrics to the song convey an entirely different mood.
“I’m The Man” is about switching the typical gender roles in sexual relationships. ADÉLA likes her boys feminine and dominates them while wearing her smallest dresses. The lyrics add a delightfully condescending tone to the song, fleshing out the picture in my head wonderfully. Yes, I am still in my shortest shorts, painting my toe nails, and journaling in my very “burn book” – adjacent journal, but now there’s a pretty boy on the floor watching me do it all.
…Yeah, that’s awesome. Is that exposing me? Probably. Whatever. 9/10.
“Boys” – 10/10
I am immediately transported to a dingy nightclub bathroom, wearing nothing but a black minidress and my tallest heels. I see red lipstick, smokey eyeshadow, and messy hair. Oh, and don’t forget about the boys outside.
“Boys” is the fourth track on the album and completely blew me out of the water. I imagine the intended atmosphere of the song was “club bathroom” and ADÉLA nailed it on the head. Featuring conversations with Lara Raj, member of KATSEYE and close friend of ADÉLA, “Boys” continues the thread of objectifying men and just being hot. The instrumentals are snappy and sexy, with moments that draw out and whip back to hit you in the face. It feels like a push and pull dance with that one really hot guy you’ve been eyeing all night. The song is punctuated by the aforementioned conversations between Raj and ADÉLA wherein they discuss a desperate boy that’s been following them around the club all night.
Like the rest of her songs, “Boys” has contrast and allure woven into every second of the song. The beat is fun, the lyrics are hilarious, and I, once again, feel like confidence is pouring out of me. I love it. 10/10
“Red Bottoms” – 8/10
“Red Bottoms” is the first song on the album to pull back from the glamour and deliver fragile intimacy, dropping the sass and confidence and replacing it with quiet honesty. This song was the second pre-release leading up to PRIMA, and, at the time, was the most vulnerable we had seen ADÉLA through her music. “Red Bottoms” speaks on the seemingly universal female experience of feeling like an object to be admired, played with, and then discarded once enjoyed beyond usefulness. ADÉLA compares herself to the famous Louis Vuitton red bottom shoes as she feels admired only for her temporary or surface-level beauty, asking the other person to love her even when the luster wears off. The premise is heartbreaking and relatable and is an incredible mood shift that sets up the rest of the project. I’m giving “Red Bottoms” an 8/10 for two reasons: 1) Much like “KGB”, the fatigue from this being a pre-release track caught up to me by the time the album officially came out, and 2) “Hitachi” is better.
“Hitachi” – 10/10
Following “Red Bottoms” is “Hitachi”, the second romance-based slow song on the album. “Hitachi” tells the story of losing the spark with a partner, reminiscing on the past, and wondering where it all went wrong. Much like “Red Bottoms”, “Hitachi” follows the themes of feeling used and neglected and the complicated relationship with sex that comes with being a woman. It is, once again, devastatingly relatable and heartbreaking. And the segment during the bridge where ADÉLA pulls us out of the studio and into the real world with her through echoey and distant vocals is wonderfully intimate. It feels like we’re hearing her pour her heart out in the room next door, like being privy to knowledge you shouldn’t have. “Hitachi” hurt me. I want it to hurt me again. 10/10.
“Fantasize” – 7/10
“Fantasize” feels like the little sister of “Boys”. Immediately picking the mood back up after two sad songs, “Fantasize” feels like it teleported out of a 2000s Disney Channel intro song and into 2026–which, to give it credit, is not a bad thing at all. While the song is still good, it doesn’t do much different for me than “Boys”. It follows the same themes, tones, and sound as the aforementioned track and, while it does a great job of creating a transition between album sections and is overall cohesive with the rest of the songs, it unfortunately just doesn’t add much. It is still fun, though. 7/10.
“Starving Artist” – 9/10
“Broke dick is the best dick” – God, probably. “Starving Artist” feels very akin to ADÉLA’s first project, The Provacateur, and I’m obsessed with it. It has the same heavy bass, vulgar lyrics, and outro suited for a dance break that made me fall in love with ADÉLA’s sound. The meaning behind this track is probably best explained by the opening “quote” to this segment – It’s about a guy who, despite literally not having a mattress, is really good at giving head. That’s it. It’s great.
★ “Marijuana” – 10/10
“Marijuana” is my favorite song on PRIMA. It’s got this wonderful dream-like quality (if I had to guess, playing off of some of the effects of marijuana) accentuated by airy vocals and addicting beats. The song is overflowing with atmosphere and creates such a vivid picture in my head. I feel like I’m speeding down the highway with my lover, feeling more free than ever before. I see foggy windows, skylines, and gentle rain. The world is painted in midnight blue, lit up by soft lights and, of course, accentuated by magenta. “Marijuana” as a song itself is not anything particularly unique – it reminds me of Chase Atlantic and certain songs by The Neighbourhood, but I will forever be a sucker for that kind of sound. While there are other songs on this album that represent ADÉLA better as an artist and create a distinct image for her, “Marijuana” still slides to the top as my guilty-pleasure favorite.
“Therapy” – 6/10
Out of the three ballads on this album, “Therapy” is unfortunately my least favorite and also takes the spot as my least favorite song on the album as a whole, though it’s not a bad song by any means. I also love the story told in her lyrics. ADÉLA discusses missing home, self doubt, and depression. She expresses feeling trapped, incapable, and desperate for success, which is something that I’m sure we can all relate with to at least some extent. Despite this, having this slow and quiet track follow the atmospheric, dream-like feel of “Marijuana” catches me a bit off guard – perhaps that’s the point, though. Even then, I just typically don’t like slow ballads much. However, this song’s story and mood sets up perfectly for the finale of PRIMA.
“Ain’t In LA” – 10/10
“Ain’t In LA” is the hopeful pop anthem we’ve been waiting for for years. There probably isn’t much for me to say about this song as it’s already received its flowers (peaked at #5 on the Billboard Global 200, #27 on Billboard Hot 100, viral on TikTok), but I’d still like to leave some of my own thoughts.
Being trapped in a society that pushes for the neverending race to the top, it’s hard not to feel like you’re always falling behind. Always in the wrong room. The wrong city. The wrong school. It’s hard not to feel bitter, burnt out, jealous, and hopeless. What I love so much about “Ain’t In LA” is that, much like everything else ADÉLA does, it’s so counterculture and so, so empowering. Especially as a college student, it’s rare to feel like you’re doing enough. That you’re not falling behind. That you’re not going to fail. Part of that is the hard, unfortunate truth that the future is uncertain and everchanging and there is no way to tell if anything you do today will matter tomorrow. The other part is that we’re rarely shown the alternatives.
It feels like there’s only a handful of ways to escape the rat race and, for the majority of us, those paths aren’t available. But “Ain’t In LA” reminds us that no matter where we come from, who we are, or what our circumstances are, there is space for us to belong, thrive, and be who we want to be. Sometimes,all it takes is a change of perspective.
And remember, the baddest bitches are all around the world. 10/10
OVERALL RATING – 8.8/10
I truly could not have asked for a stronger debut from ADÉLA. I’ve been a fan of hers for the past year and have been eagerly awaiting this project. Her hard work and hunger are evident in the quality of her work and she has been met with endless acclaim and praise as a result of it. “Nicole Kidman” peaked at #11 on the Billboard Hot 100, #3 on the Global 200, and the album as a whole reached #4 on the Billboard 200. I’m so glad to see her receive her flowers. I love everything about her work from the lyricism, to the atmosphere, to the style, and I hope to see her continue to succeed in the future. Work like this deserves success.
I love ADÉLA. This album was a treat. I can’t wait to see what she does next.