8/10
Adéla, Lollapalooza’s favorite ballerina gone rogue, has finally released PRIMA, her long-awaited debut album. But she’s been in the music industry for a while. The singer’s first major introduction to the public eye came while competing on “The Debut: Dream Academy,” a reality show that created the girl group KATSEYE. After being eliminated from the show, the Slovakian artist released her own solo singles, Homewrecked and Superscar, before releasing her debut EP, The Provocateur, in 2025. Now, she’s back with PRIMA, an 11-track introduction. The album’s name comes from her childhood passion, ballet, but the album focuses on themes surrounding her life as an immigrant from an ex-communist country, as well as the struggles of deciphering love from lust in toxic relationships.
The album opens with “KGB,” a controversial club classic framed by a techno, synthesized beat. Here, Adéla compares herself to a KGB spy, a former Soviet Union secret police agency. Her snarky approach while referencing the notorious spy agency didn’t come without backlash, though. Critics argued that the singer was insensitive to victims of Soviet trauma. “I was, like, eight, working the nightshift to learn English / I’m like a spy, I studied this sh*t, call me the K-G-B*tch,” she sings. But the song itself is excellent. The track perfectly executes what many others on the album struggle to: a balance of wit and condemnation. The well-thought-out yet playful lines, combined with a perfectly high-energy beat, make the song both catchy and meaningful. “KGB” is the unrivaled star of the project.
The theme of self-empowerment continues in “Nicole Kidman.” A slow, sensual rhythm with a bass-heavy tone, Adéla takes on a cocky mentality, singing about her self-admiration and confidence: “’Cause everything you say, it dictates your destiny / That’s why I put ‘Pop Princess’ on my license plate,” she sings. The song is littered with references to Kidman, who Adéla sees as an idol: “Moulin Rouge, my corset is so tight / Babygirl in control,” she sings. The chorus is smooth, and the verses address the objectification of women with a humorous approach. “My bra should probably be a bigger size / Maybe that’s why they can’t look me in my eyes,” she vocalizes, cheekily mocking men when they stare at her chest. Her unbothered tone makes this song carefree and laid-back, even while delving into societal issues.
Although the album resembles the whisper tones of many modern artists, say Tate McRae, Adéla also clearly takes inspiration from past superstars like Destiny’s Child, Lady Gaga, and Madonna, (who she cites as a model for her artistry). But that isn’t to say she doesn’t have her own signature style: Adéla’s vocals are clearly the highlight of every song, each song a blend of harmonies and vocalization. Her voice is her primary instrument, it is the star of everything she works on.
Halfway through the album, Adéla’s emphasis on danceable, lighthearted hits shifts as she embraces vulnerability. “Red Bottoms” expresses a fragility less represented earlier in the album. Adéla questions whether her partner will truly love her, or if they’ll just get tired of her. “‘Cause when the red starts to go / Will you love what’s on the other side?” the singer asks. This reflective moment creates an emotional setup, comparing her fading red bottom shoes to fading love. “Nobody wants dirty shoes / Nobody wants dad issues,” Adéla sings. Nobody wants used shoes just like nobody wants a girl damaged from a troubled family life. To drive home these feelings of weakness, she opens up about previous experiences leading her to shy away from telling the full truth. “I say how I’m doin’ dependin’ on who’s askin’ / I think I’m too f*cked up from everythin’ that’s happened,” she sings. Adéla’s willingness to explain her isolation and relationship anxiety allows listeners to understand more of the person behind the pop star. The depth and raw emotion reveals her bitter reality, making “Red Bottoms” easily the best-written piece on the album.
Adéla continues to explore similar themes on “Hitachi,” which stands out for breaking the typical radio pop music vibe present in almost every song on the debut. The only ballad, it’s the album’s most personal and heartbreaking track, as light piano, strings, and Adéla’s harmonies take the forefront. The song focuses on her pleas to get intimate with her partner, even as their relationship fades. The song also brings up another major theme on PRIMA; It’s clear Adéla associates intimacy with love. In “Hitachi,” she even goes as far as offering to break her own boundaries for their touch. Though the song is clearly about intimacy, it’s not focused on seduction or temptation. Instead, Adéla passionately begs her lover for care and attention. “Hitachi” is a quintessential singer-songwriter ballad, but it works in the setting of the record. The track’s delicate piano and raw delivery leave listeners feeling empty, and its unique harmonies add a variety the album needs.
Don’t be fooled by her agonizing calls, though: “Fantasize” directly follows “Hitachi,” and flips it on its head. The song, which seems to speak about a similar situation, sees Adéla start to envision herself with other people, instead of waiting for her current partner to act. “Lately, I’m lackin’ a sense of reciprocity / In your passion every night,” Adéla vocalizes. She blames her partner for not satisfying her needs, and for enabling her wandering eye. The electronic beat and her seductive lyrics make the track PRIMA’s only true siren song.
“Therapy” throws off the record with its forgettable melody and vocals. The lyrics are thought-provoking and personal, discussing family struggles and career problems. “I can’t really sing / I can’t really do anything right now that I want to do,” Adéla sings. Yes, the line, and the rest of the song, is relatable but nothing is propelling or exciting. The boring background piano evokes no emotion, and her singing, as she mentions in the song, isn’t good. Adéla’s attempt at a realistic portrayal of stardom doesn’t do the album justice.
The last track on the record, “Ain’t in LA,” follows Adéla as she embraces her immigrant story. An energetic but slower pop closer, the track focuses on Adéla’s disillusionment with the American dream: “Maybe tonight, we don’t gotta run away / It’s all a lie, the baddest b*tches ain’t in LA,” she sings. Adéla seems to reference her own experiences of moving to L.A. to compete on “Dream Academy,” remembering her experience as far from glamorous. The song’s short verses are sentimental and emphasize the importance of individuality as they build up to an upbeat but relaxed chorus. Its slow tempo is a setback, but the chorus is still entertaining and memorable, leaving the album on a bright note.
For a debut album, PRIMA shows great potential for the future of Adéla. The majority of songs consist of dynamic, energetic rhythms, repeating choruses, and short verses. Others offer a breath of fresh air to the album, nicely spacing the tracks with vulnerability and softness. PRIMA has some noteworthy choruses, powerful vocals, and interesting beats, but there are a few major weak points and it would be nice to see her explore more interesting sounds. The album is a promising start for the young star, but she’s not a true prima donna just yet.
