“Prima,” ADÉLA’s debut album, captures the feeling of 2010s nostalgia and proves that she is built for the music industry. The album encapsulates both her personality and story, which demonstrates major star power.
ADÉLA, or Adéla Jergova, is a pop artist from Bratislava, Slovakia. She gained popularity from “The Debut: Dream Academy,” the show responsible for the creation of global girl group KATSEYE.
ADÉLA released “Prima” on Sept. 4, 2026, just over a year after releasing her first EP, “The Provocateur.”
The album opens with “KGB,” the lead single released five months before the album. This song perfectly bridges the heavy production in “The Provocateur” and the calmer production in the whole project.
“KGB” could have fallen flat, but the incorporation of ad-libs behind the second and third chorus elevates the song.
The lyrics tell ADÉLA’s story of her hard work to become successful in America while also paying homage to her country and what they have been through.
“Nicole Kidman,” the album’s second song, immediately became a hit, charting on the Billboard 200 and in Spotify’s Global Top 5 Hits. Although underwhelming at first, especially when comparing it to her previous project, the catchiness makes the song grow on the listener.
The speak-singing chorus instantly gets stuck in the listeners’ head and plays like a mantra. The light and high vocals paired with it make the song one of the most memorable tracks on the album.
“I’m The Man” also stands out. With lyrics like “I like my boys a little feminine” and “why don’t you come and sit on my lap?” the song has become a hot topic.
“I’m The Man” showcases ADÉLA’s risque personality and fun songwriting. The simple melody gives room for the lyrics to breathe, but the background vocals keep the track from becoming boring.
The placement of “Boys” after “I’m The Man” was a genius decision. The song picks up the tempo and is a solid dance track, reminiscent of Britney Spears’ vibe.
“Red Bottoms,” the second single released from “Prima,” brings the album’s lighthearted tone to a pensive state. Though it was not well-received by fans, lyrics such as “nobody wants dirty shoes. Nobody wants dad issues” highlight ADÉLA’s songwriting range.
The production on “Red Bottoms” feels both grand and soft at the same time, reflecting ADÉLA’s feelings of frustration, but being too worn down to fully express it. The strings add to the sad and beaten-down feelings of the singer.
She also gets a chance to show off her vocal ability in this song, showcasing both her range and strong technique.
While at first glance the title makes the song seem suggestive, “Hitachi” is one of the heaviest songs on the album.
Similarly to “Red Bottoms,” “Hitachi” uses strings and piano to exemplify sorrow toward her relationship. The lyrics are the most impactful part of the song, referring to her partner’s lost interest in her. She sings about how she has to break her own boundaries to try to get him to love her again.
“Fantasize” turns the downcast feelings of “Red Bottoms” and “Hitachi” into an anthem for getting over an unaffectionate lover.
It’s easy on the ears, but the repetitiveness gives the song a dull feeling.
The following track, “Starving Artist,” makes up for it, however, with some of the heaviest bass in the entire album.
“Marijuana” is the ninth song on the album, and its biggest issue is that it is the shortest song on the album, only lasting one minute and 50 seconds.
“Marijuana” has been a fan favorite for over a year, originally being an unreleased song that ADÉLA performed on tour.
The use of vocal effects and bass-heavy production demonstrate the song’s message: how being in a relationship can make one feel high. There is always constant noise in the song but not in a way that is too overwhelming.
“Marijuana” is packed with elements that could have made it the biggest song on the album, but it is too short to make a lasting impact on a large audience.
“Therapy” is the most personal and unstructured song on the album. The lyrics play out like a conversation with a therapist and they are over a simple piano. There is no rhyme scheme in the verses, making them jarring to listen to at times but this is purposeful. It feels authentic to how she felt when she wrote the lyrics.
There is excessive autotune on the lyrics that makes the song less enjoyable, but it is used in a manner that adds to the meaning of the song.
“Ain’t In LA,” the album’s closer, is easily the song of the summer. The song radiates 2016 nostalgia, despite being released a decade later.
What also makes this song special is the recognition it gives to her mother as well as those who have big dreams, but are not from big cities, like ADÉLA.
“Prima” may have some moments that sound like generic pop, but it’s one of the most impressive debuts seen from an artist in a while, showcasing ADÉLA’s desire to break out and be on top.