Introduction:
After being eliminated from Netflix’s competition show “Dream Academy”, Adela proves she does in fact, not work well in groups. At only 21, Adela has launch-padded herself to success, at first— she was independently releasing music, now “label baby” has just supported her in the launch of her first ever EP. By mixing electro pop with meaningful lyrics, Adela is changing the narrative. So, this is my personal review of “The Provocateur”, by Adéla Jergova.
Track 1: Superscar
‘Superscar’ was my first introduction to Adela. You see, I didn’t watch Dream Academy. Instead, I came across a slightly blurry music video on my tiktok for you page, and I only had one question: who is this diva?
Lyrically, “Superscar” tells a clear story; Adela is criticising the exploitation of women in the music industry, lyrics such as “pull my strings and make me sing” indicate how she was a puppet for the show Dream Academy, for monetary reasons “lucky you, you found your monetary fantasy” and entertainment reasons, Adela is criticising the fact she trained for a year, just to be kicked off the show once the fans said they didn’t like how she looked. This tells a story as old as time, of women’s struggles in the music industry. That female artists alike, such as Halsey or Chappell Roan, that despite talent or artistry, have experienced their labels dropping or restricting them, because they do not fit into that “box” of the standards the big corporations want to profit from.
Even though the music video appears to be on a tight budget, Adela’s talent is clear. With insane choreography and that impressive dance break, this music video does a terrific job at showcasing her artistic abilities. It is a great opener for an EP, it definitely grabs the listeners’ attention with a certified pop banger. I recommend anyone who is into pop music or interested in a great performance, please check this song out.
Watch the “Superscar” music video there: https://youtu.be/Pn6ey6HOkP4?si=0DhDBzPPplzgSERU
Track 2: SexOnTheBeat
As I watched Adela’s commentary on this music video, I believe she truly says it best— “how can i be so sexual it makes you uncomfortable?”. With a purposeful choice of erotic noises, longing looks into the camera, and extremely suggestive choreography, Adela leaves no stone unturned in making her message clear. She really is a provocateur.
Musically, the song presents a deliberate contradiction between the vocals and the beat. Adela’s voice is soft and almost whisper-like, contrasting with the energetic electro-pop rhythm that eventually builds into an electro-house drop. This tension reflects the song’s thematic focus: while the upbeat production evokes mainstream pop, Adela’s subdued vocal delivery hints at vulnerability and restraint. Even the song title functions as a double entendre, referencing both the erotic sounds Adela makes on the track and the broader issue of sexual exploitation within the music industry.
In the music video’s opening scene, Adela makes erotic noises while maintaining direct eye contact with the camera, creating a sense of both discomfort and confrontation. About thirty seconds in, she is shown watching a Christina Aguilera perfume advert featuring the slogan “harness your sexuality and become pop royalty.” This moment introduces the video’s critique of how female artists are encouraged to commodify their sexuality to achieve fame. What follows is a montage of sexualised imagery, such as Adela’s suggestive dancing and posing nude: which operates as a transparent commentary on the oversexualisation of women in the music industry for monetary gain.
The song’s lyricism reinforces this critique. Lines such as “give me stage, rage, cage, I give,” “I’m feeding your desires,” and “begging you to fetishise” expose the transactional nature of fame, in which women are expected to perform desirability for the male gaze. Later, phrases like “bend into shape you like” and “make you think the choice is mine”. This highlights how female artists are made to feel like they have control, when in reality, their image is shaped by the industry’s expectations. It shows how corporate power quietly pushes women to fit into the male gaze just to stay successful.
Yet, Adela appears to be reclaiming her sexuality in this video, presenting it as a form of empowerment rather than submission. She describes the project herself as “expressing herself without the male gaze,” encouraging women to embrace and express their sexuality on their own terms, even if that means being a little bit provocative.
Watch the “SexOnTheBeat” music video here: https://youtu.be/oCvdBnRj67k?si=VSBBaU5TfBU4_HKm
Track 3 – MACHINE GIRL
If there was any debate about who Lady Gaga’s musical daughter is, Adela won— and you heard it here first.
First of all, that bridge? Impeccable layering, I feel as though I am ascending into pop music heaven. Secondly, this is Adela’s first release as part of a label, so she definitely had big shoes to fill, and she didn’t disappoint. This music video is simple in aesthetic, yet powerful in storytelling. The cameo of Grimes and Sofia Wylie shows not only just a budget glow up, but interesting tools for storytelling.
Lyrically, Adela is creating retribution for the online discourse about her personality, with a play on words, Adela is saying she is not the ‘mean girl’ you say she is. Lyrics such as “Mean girl, what does that even mean, girl?’ is a direct criticism to the online hate. She is also calling out the music industry, stating “yell at the machine, girl” as Adela is saying, on Dream Academy, she was used an entertainment “machine”, “a product of distortion” and audiences issue should be with the industry and the academy’s mistreatment, not her.
With this song, Adela is continuing to prove she does not conform, and is embracing who she is, which is a message I can get behind.
Watch the “Machine Girl” music video here: https://youtu.be/UdS3gV0_MA8?si=TZazZDVUAbPQJZ2l
Track 4 – Homewrecked
Even though this song is not my personal favourite, it fits in with Adela’s sound very well— and once again, tells a story. Honestly, I hate when artists continuously talk about basic things, the same story, or nothing meaningful at all. Personally, I want music with meaning, and that is exactly why I like Adela. This was her first release, and she is telling us the story of her father’s affair.
This track is raw, vulnerable, and deeply relatable. We all carry skeletons in our closets, but Adela transforms hers into something strikingly beautiful and creative. That honesty is both bold and daunting, exactly what makes this debut release so compelling.
With ambient lighting and a dream, Adela brings this song to life. Without a traditional music video, opting instead for a lyric video, a visualiser, and a dance video, she demonstrates the dedication and creativity behind her debut single, proving her artistry from the very start. This song was released just over a year ago, and now stands as a snapshot of her earlier struggles, with Adela clearly having grown and matured since then, she didn’t let any pain stop her from doing what she loves, and succeeding at it.
Watch the “Homewrecked” dance performance video here: https://youtu.be/AJfsKx12kqA?si=HWIIjnCofWutA8My
Track 5 – Go
“Go” is an absolute banger, and is EDM done right. The chorus clearly builds an out of body experience, as this is the kind of song that transports you into a good club.
Lyrically, Adéla continues to impress me with her raw honesty. Lines like “I don’t really call home lately” and “baby, I’m a dreamer” showcase her vulnerability, while “Can you love me like you hate me?” is a standout lyric that hits hard with its emotional contradiction. The soft-spoken verses create a compelling contrast with the explosively loud chorus, giving the song a dynamic tension that keeps listeners, and frankly myself, hooked.
Production is top-tier, courtesy of Dylan Brady, known for his work with Charli XCX. His influence is unmistakable, from the pulsing synths to the expertly crafted drops. Ari Starace, who worked on Doja Cat’s Planet Her, also contributes, and you can hear the nuanced layering reminiscent of those tracks. Together, they’ve created a sound that’s both chaotic and meticulously structured, blending drum and bass energy with EDM euphoria.
“Go” isn’t just a song, it’s an experience. From start to finish, it ascends, pulls you into the music, and makes you feel every beat. Adéla has crafted a track that proves her as a bold and daring artist, unafraid to fuse vulnerability with sheer sonic power.
Listen to “Go” here: https://youtu.be/kR_Nipw95VY?si=yrU3QOjgV8mFNFcv
Track 6 – DeathByDevotion
Arguably the most sonically distinct track on the EP, “DeathByDevotion” builds on a heavy, escalating beat that mirrors its narrative, the slow demise of devotion itself. Through rising intensity and emotional tension, the song captures how blind loyalty becomes a toxic cycle of burnout and self-destruction.
While the music video clearly carries emotional depth and symbolism of how dedicated Adela is to dance, specifically ballet, the overall experience of the song can feel a little flat in comparison, visually meaningful, but not as captivating as the song at all.
Still, there’s something compelling in its chaos. As lyrically, I am struck by ““My own self-deprivation, on and on, on rotation, suffocate my emotion, call it death by devotion,” which I believe encapsulates the songs meaning perfectly.
Overall, “DeathByDevotion” feels like a bold experiment and conceptually fascinating, but not as replayable as Adela’s other tracks. Still, it deserves credit for its ambition and lyrical depth.
Watch the “DeathByDevotion” music video here: https://youtu.be/i5h0x5twPB8?si=bdSKPF8Cd5Yw3IBj
Track 7 – FinallyApologizing
“FinallyApologizing” is an absolute banger, to me it is the kind of track that demands to be danced along to in a club or shouted from the front row at a concert. Adela’s voice bursts with personality here.
From the very first line, “Everybody always has a lot to say, I hear new things about me every other day,” she takes control of her own narrative. It’s a brilliant move that instantly recalls the same energy as Sabrina Carpenter’s “because i liked a boy”, both songs transform gossip and public discourse into power. Adela turns rumour into art, using her lyrics to reclaim her story and flip criticism on its head.
Lines like “I won’t do anything I don’t want to do, and maybe that’s why I don’t work well in groups” and “How do you expect me to just submit to you? You won’t get what you want from me” are delivered with self-assurance. It’s empowering. They work not just as clever songwriting but also as a musical declaration of independence and strength.
Her lyric “I’m not as bad as you want me to be, you only get to know me parasocially” feels like a direct clapback to the producers and judgmental viewers of Dream Academy. It’s a masterclass in turning criticism into empowerment, and an anthem for anyone who’s ever been misjudged or misunderstood.
The bridge, with its almost nursery-rhyme tone, adds another layer of irony, as it mimics the childish voices of online critics and obsessive fans, contrasting beautifully with the track’s confident energy. And then there’s the title itself: “FinallyApologizing.” The irony couldn’t be clearer. She’s not actually apologising, she’s reclaiming the act of apology as something on her own terms and I love it.
Listen to “FinallyApologizing” here: https://youtu.be/7qqGd4OVo8g?si=BuizGWChnEdoywHg
Conclusion:
“The Provocateur” isn’t just an EP, it’s a statement. Adéla has proven that she’s more than a product of a reality show; she’s an artist with vision, vulnerability, and an unapologetic voice. In an era of polished perfection, she dares to be raw, real, and rebellious, and that’s exactly what makes her the future of pop. So, keep an eye out for this electro-pop diva, the next era of pop may just belong to her.
Editor: Felicity Field