Rejection proves to be a redirection for pop stars and icons like Adela Jergová. Failing to debut with global group Katseye after the rigorous Popstar Academy, the singer began her solo career in late 2024.
If The Provocateur turned heads with its industrial sound and rugged concept, Prima takes a step back into the safety net of pop princess territory, catering to a more general audience.
While “KGB” carries traces of her debut EP, tracks like “Nicole Kidman” shift into a 90s and early 2000s vibe. In reference to the actress, the video features Jergová living a lavish lifestyle as she sings, “baby girl in control, I feel like Nicole.”
“I’m the Man” shifts into a laid-back tune where the singer addresses her position in a relationship, claiming she “likes her boys a little feminine.” The song is fitting for her image, reinstating her dominance when it comes to pop music.
Track 4, “Boys”, features spoken elements and a guest appearance from Katseye’s Lara Raj. The two singers discuss a group of guys hitting on them at the club and their disapproval over a 2000s Britney Spears-style beat.
The next two tracks, “Red Bottoms” and “Hitachi”, shift the running sound to more ballad-like and emotional songs. The first compares the singer to a pair of Louboutins, while the second describes a pleasure toy in favor of a failing relationship.
“Fantasize” was mistakenly compared to an unreleased Ariana Grande song of the same name. The track returns to the upbeat pace, this time reminiscence of an early Destiny’s Child sound; the addictive triangle melody and guitar outro prove single-worthy.
“Starving Artist” and “Marajuana” play around with the idea of Adéla’s hunger in both her personal relationships and career. She sings, “Hey, do you still have the same apartment… eat real good for a starving artist” and “I like how you look at me like I’m the next Madonna.”
“Therapy” is a stripped-down spoken-word ballad track, describing the place in which Adéla finds herself as she pursues pop stardom. She talks about wanting to move her mother out of her homeland, so she needs to talk to the “old white men” who are “annoying”, referring to executives at record labels.
The final and most viral song, “Ain’t in LA”, refers to the idea that success only comes from those in Los Angeles, and rejects it. The video highlights the Slovak singer’s roots and culture, empowering anyone with the message that they too can be like her.
While the debut itself seemed to be promising a harder-hitting sound, the calmer tracks do not bring this album down by any means. Adéla plays it smart, catering to a wider audience in the general pop-sound to build her fanbase further.
With a lot left to say, she sets the tone for her rise into pop princess territory. A promising debut, wherever she goes next is bound to be an exciting and thrilling ride for new and old fans alike.
