6 Adéla Songs to Revisit (Or Discover) Before Her Debut Album ‘PRIMA’ Arrives

Adéla’s EP The Provocateur may have introduced listeners to her flair for provocative pop, but “DeathbyDevotion” shows off a heavier side of her sound. Co-produced by Dylan Brady (100 gecs, Charli xcx) and Zhone (Kesha, Demi Lovato), the track incorporates fuzzed-out electric guitars, giving it a sharper edge than some of the EP’s more straightforward pop offerings. The song also makes room for the theatricality that has become central to Adéla’s artistry, with her background in ballet adding a fun layer to the song’s aesthetic and the way it is performed on stage. During her 2026 Reading Festival set, she performed the track while nodding to ballet during the performance, an interesting visual counterpart to one of her more dramatic songs.

If Adéla’s goal is to make pop music that gets people talking, “SexontheBeat” is an essential starting point. The song became an early favorite among her growing fanbase and helped introduced more listeners to her cheeky personality that proudly shines through her work. But beneath its deliberately provocative title is a more superimposed idea. Adéla has described the track as part of her exploration of the complicated experience of being a young woman in the spotlight, while i-D characterized the song as being about bending for someone else while still knowing where the power lies. With its breathless energy and tongue-in-cheek lyricism, “SexontheBeat” encapsulates the humor and self-awareness that have become defining parts of Adéla’s pop persona.

“Superscar” is one of the clearest windows we’re able to look into of Adéla’s experiences navigating the entertainment industry at such a young age. In an interview with The Honey POP, the singer said the song draws from her journey from beginning ballet at age 3 and turning professional at 11 to later entering the music industry in such a public way. “I’ve definitely always struggled with feeling as though the talent has to succumb to pressures of those in power,” she explained. The result is a song that uses the imagery of strings and puppetry to examine power dynamics and the ways artists can be treated as commodities. Adéla later described “Superscar” as a response to the public reaction surrounding Pop Star Academy, making the song such a vulnerable piece (though the production tells a different story, with its amplified dance-pop synths and instrumentation).

“Red Bottoms” was the second track to be released during the PRIMA cycle, and by the time it dropped, Adéla had already established that subtlety was not necessarily part of her pop playbook. The song brings together the boldness, humor and larger-than-life attitude that have helped distinguish her early work, while also being a part of the musical runway that leads to PRIMA. Its placement among the songs introducing her debut album makes it an important listen for anyone hoping to understand the era before hearing the full project. And for fans already familiar with Adéla’s willingness to embrace the playful sides of herself and in pop music, “Red Bottoms” is yet another reminder that she is building her career on her own theatrical terms.

This one is a personal favorite. “KGB” is a song that captures the intersection of Adéla’s personal history and her pop star ambitions. The track talks of her Slovak roots and her experience growing up fascinated by American pop culture, with Adéla using the metaphor of a spy to tell her own story. The singer had made clear that the song’s references to the Soviet-era intelligence agency are not an endorsement of its history; the music video includes a disclaimer addressing the imagery and expressing support for the people of Ukraine. In discussing the song, Adéla has also connected it to the hunger and ambition that have helped drive her journey as an immigrant artist who taught herself English. “KGB” is more than just its controversial title — it’s a playful and deeply personal statement about where she comes from and how she learned to navigate the pop world she once watched from afar.

“Ain’t in LA” feels like the clearest capsule of who Adéla is and who she wants to go. As of the week before her debut album drops, this breakout smash has reached a new peak of No. 68 on the Billboard Hot 100. Despite its title, the singer has emphasized that the track is not about rejecting Los Angeles. “LA works more as a symbol for ‘something bigger,’” she told Vogue CS, explaining that the song is meant to remind listeners that they do not have to come from a major city to dream big. Adéla has also connected the song to her own upbringing in Slovakia and the visit home that inspired it. She said she began thinking about her mother and “the billion other b-tches” who may have big dreams without receiving the recognition they deserve. The message has clearly resonated, due to the song giving Adéla her highest-profile chart moment to date. For a singer who once dreamed of pop stardom from a small country in Central Europe, there is definitely no better introduction to her story.