Though 2026 has been relatively slow in the minting of totally new pop stars, it appears one might be on the way with Slovak singer-songwriter ADÉLA.
The rising hitmaker — who first made public notice as a contest on the KATSEYE-forming reality contest show Dream Academy, then as an opener on Demi Lovato’s It’s Not That Deep tour — released her much-anticipated debut LP PRIMA on Sept. 4. On this week’s Billboard 200 (dated Sept. 19), the set bows at No. 4, while charting two singles in the Billboard Hot 100’s top 50: lead single “Ain’t in LA” (which moves 57-30) and follow-up “Nicole Kidman” (which debuts at No. 45).
How does her debut compare to our expectations? And what should she do next to take advantage of all of this? Billboard staffers and contributors answer these questions and more below.
1. ADÉLA’s PRIMA bows at No. 4 on the Billboard 200 this week with 56,000 first-week units. Is that first-week performance better, worse or about what you expected?
Lyndsey Havens: A bit better! I was expecting top 10, for sure, but once you remember that this album is home to her breakout hit and Hot 100 debut “Ain’t in LA” — plus “KGB” and “Red Bottoms” and latest single “Nicole Kidman” — it’s easy to see how it landed in the Billboard 200’s top 5.
Kristin Robinson: This is a little below what I expected. No. 4 is a very strong performance from a new artist, and she should be incredibly proud of that. That being said, I must be on the ADÉLA algorithm because, based on how much I’m seeing her song on TikTok, I actually thought this might be No. 2 or 3 this week. This just goes to show how much algorithms — or just a killer digital marketing campaign — can impact our perception of what is popular.
Andrew Unterberger: Higher! A debut in the back half of the top 10 would’ve still been a total success for ADÉLA on this campaign, given how new she still is and how many hitmakers feel permanently entrenched in the chart’s top five at this point. For her to get to No. 4 — well higher than recent efforts by more proven hitmakers like Karol G and Steve Lacy — is a real eye-opener.
Alicia Urrea: It’s about what I expected, but in the best way possible. As someone who has been watching ADÉLA’s transformation into the pop star she is now, I had a feeling PRIMA would have a very strong debut. The momentum around her has been building for some time, and the moment “Ain’t in LA” dropped, it felt like the beginning of a much bigger moment for her. A No. 4 debut with 56,000 units feels like a strong indication of where she is right now, and I think she has a growing fan base that is invested in her, but there’s also still room for her audience to expand. Considering how quickly her profile has grown, I think this is a very promising first-week result and, more importantly, a solid foundation for whatever is next.
Kristen Wisneski: It’s pretty much what I expected. For her second album, I think this is a great result. She’s put in the work, and it’s clearly paying off. I hope she continues to grow and get even bigger from here. Moving 56,000 units in her first week is a great achievement, and I think even more people will continue to discover her and become fans as she grows.
2. It seems like ADÉLA has recently received a massive surge of attention in a relatively short period of time — what do you see as being the biggest thing driving interest in her at the moment?
Lyndsey Havens: I think it’s been a series of right moves. Obviously, there’s a bit of a built-in fanbase having competed on Dream Academy. But more recently, she opened on tour for Demi Lovato, which cracked open that fanbase even wider. She followed that run by debuting on the Hot 100 with a single from her upcoming debut album, which never hurts. And then there’s the familiar beats of songs like “Ain’t in LA” and “Nicole Kidman,” which has only boosted familiarity for fans who hadn’t yet bought in. These are just pieces of the full package, though, which ADÉLA completes with her hot pink hair and open persona. She’s not trying to fit into any particular box, and as a result her album showcases a range of sounds and topics, and I think that’s what’s continuing to drive interest now — she got us hooked, then actually delivered.
Kristin Robinson: The biggest thing driving interest in her at the moment is TikTok. I am a new ADÉLA fan and I fell down the rabbit hole with “Ain’t In LA” — which has a great trend around, it where people will share some random place they are from and say, basically, “the baddest b–ches ain’t in LA.” All credit to her, though — she has followed up that song with “Nicole Kidman,” and I’m seeing that all over my feed too. I love the Nicole fan edits set to that song.
Andrew Unterberger: It feels like she’s already close to the complete package, in a way that pop fans are increasingly demanding from their hitmakers in 2026. It’s not enough to just be a good songwriter or performer or dancer, or to have good style or social media or overall branding — you kinda need all of it, and you need it right away. Whether due to her early training or good artistic development or just her innate pop talents — almost certainly a combination of the three — ADÉLA seems to have basically gotten there by the time of her first album. It’s a lot to ask of any young performer, but it’s right on time for pop stardom in 2026.
Alicia Urrea: I don’t think there’s one single thing driving ADÉLA’s rise, and I think that might be why it happened so quickly. There seems to be a real appetite for a new generation of female pop stars who have a strong sense of identity and empowerment, and ADÉLA has been able to position herself within that. Her team and label also deserve credit for giving her a recognizable visual identity with her pink hair and vibrant color palette. It makes her identifiable in a similar way to how Charli xcx’s green became inseparable from the Brat era.
But ultimately, the aesthetic only works because there’s an artist behind it. ADÉLA is genuinely talented as both a singer and a dancer, and she doesn’t seem to be treating those as separate parts of her artistry. Watching her lean equally into performance and vocals makes her feel like a fully formed pop artist, instead of someone who is simply benefitting from a viral moment.
Kristen Wisneski: She’s uniquely herself, and her story is so different from everyone else’s. She became popular through a group documentary, only to ultimately not be chosen. But instead of giving up, she continued pursuing her passion for singing and wanting this dream so badly that she found a way to stay in L.A. — even coming from outside the U.S.
I think so many fans admire her dedication and determination. She was even learning English while working the night shift! You can genuinely see how badly she wants this, and she’s such a powerhouse on stage. With her U.S. tour kicking off this week, I think people are going to get an even bigger glimpse of what she can do.
3. Breakthrough hit “Ain’t in LA” hits the Hot 100’s top 40 for the first time this week, bounding 57-30. Do you think it will keep climbing into the top 10 — something relatively few 2026 hits have managed to do — or will its momentum taper off before then?
Lyndsey Havens: I think that as we head into fall, it could taper off. It’s a fun, carefree and breezy song that came at the right time, and it makes sense that it would enjoy a post-album release bump, but I wouldn’t necessarily expect it to reach the top 10.
Kristin Robinson: To me, it still has a good shot. I think her team at Capitol Records is really hungry to break her right now. It is always heartening to see an artist get that kind of support — unfortunately that’s never a guarantee. Capitol has been coming off of a turbulent decade and under the purview of relatively-new CEO Tom March and president Lillia Parsa, they are really proving this year they know how to market a future star, with the successes ADÉLA and label mate Sienna Spiro have seen.
I think they will keep fighting for that song and keep the foot on the gas. And most importantly, I think ADÉLA is hungry too, and willing to put in the work required to keep this song top of mind.
Andrew Unterberger: One word: radio. Top 40 has barely even begun to test the waters with “Ain’t in LA” — but it’s coming, and given the classic Miley Cyrus sound of it (which Cyrus herself seems less than interested in these days), it’d be pretty surprising if radio didn’t end up embracing it with open arms. Once that happens, the doors may not just open to “Ain’t in LA” as a top 10 hit, they might not close till sometime well into 2027.
Alicia Urrea: I could see “Ain’t in LA” tapering off before reaching the top 10, but I don’t necessarily think that would reflect the song losing momentum. I think the bigger threat to its trajectory would be ADÉLA herself. Now that PRIMA is out and multiple songs are getting attention, another track could overtake it. “Nicole Kidman” is the obvious contender, debuting at No. 45 and has already generated traction online. I think there’s a possibility this song gives ADÉLA another chart push, and in that scenario, “Ain’t in LA” could plateau without disappearing from the conversation entirely. That said, I wouldn’t count it out of the top 10 yet. A jump from No. 57 to No. 30 shows that the song still has momentum, and if streaming and social engagement continue to grow, there’s certainly a path for it to keep climbing.
Kristen Wisneski: I truly believe this song will continue to climb while she’s on tour and potentially come close or make it into the top 10. I love the song itself, but I also really love the meaning behind it. As I mentioned before, the fact that she’s from Slovakia and not the U.S., yet always dreamed of becoming an entertainer and a singer, makes the message behind the song so powerful. She’s inspired and rallied so many young girls from other countries to believe in their dreams, even if they didn’t grow up in L.A. or come from a Hollywood background. Her story shows that you don’t have to come from the traditional path to make it in the entertainment industry.
She’s managed to build and retain a worldwide audience through this song, and I think that international connection is going to be a huge part of what keeps the momentum going for her.
4. “Nicole Kidman” may already be on its way to becoming the album’s second hit, debuting at No. 45 in its first week. Do you think its hit potential is on par with “LA” or is it more of a one-week wonder?
Lyndsey Havens: I do see the future of “Nicole” mirroring that of “LA.” It has a lot of the ingredients for a sticky song, from a social-media friendly chorus that already has other artists posting to it (we see you, Hilary Duff) to name-checking a beloved A-list actor (who just so happens to be on a major press run herself right now). Now, naming a song after a celeb is always a bit of a risk — but seeing as Kidman is a fan with plans of seeing ADÉLA on tour? That’s when you know it more than paid off.
Kristin Robinson: I love “Nicole Kidman,” but I think “Ain’t In LA” is the one that has the widest commercial appeal. I could see that one continuing to grow, and “Nicole Kidman” being a good, but smaller, second hit for her.
Andrew Unterberger: Oh yeah, “Nicole Kidman” is the perfect follow-up to “Ain’t in LA” — a song more dependent on your buy-in to ADÉLA in general, but one with arguably even greater viral potential. A would-be 2026 pop star couldn’t ask for a better second hit.
Alicia Urrea: I think “Nicole Kidman” has the potential to be more than either of those things. I see “Ain’t in LA” as ADÉLA’s toe in the water — it introduced her to a wider audience and gave listeners a reason to pay attention to her. Now that has established that connection, “Nicole Kidman” feels like the next step. Additionally, from what I’ve seen, the track is getting a lot of organic traction, including my own For You Page on TikTok. That kind of repeated exposure can be especially valuable for a newer artist, and a No. 45 debut is already spectacular. If this social momentum can be converted into streaming and radio plays, I think “Nicole Kidman” could have a longer life than its first-week chart position suggests.
Kristen Wisneski: I love this song. I think the lyrics and the music video – everything about it is on par with what I expect from ADÉLA and the creative vision behind all of her projects. She never does anything halfway. “Nicole Kidman” I hope will become the album’s second hit. I don’t know if it’ll end up being on par with how big “Ain’t In LA” already is, but I think it’ll come close.
5. Now that she’s put the pop world on notice with this album and its first week, what do you think the most important thing is for ADÉLA and her team in making sure she can take the next step towards pop star status?
Lyndsey Havens: Festival season came at an interesting time for her this summer — her star status was already on the rise but definitely still growing. I think if she has a few more singles sprinkled throughout the year — enough to get us to next festival season — she could be looking at a major breakout moment come April.
Kristin Robinson: The obvious answer is they need to keep the digital marketing going, because it is working, but I’ll add in one more: She needs to cap this era off with a great tour. And it’s clear that her live show will likely be expensive to produce, so I hope she gets the budget needed to cement herself as a pop star on stage. I believe she has the talent to do it, it’s moreso a matter of resources.
Andrew Unterberger: For as much as she’s comfortable with, it’s gotta be all systems go with ADÉLA. The time is now, and any zone that can be flooded should be: radio promotion, viral marketing, extensive touring and a big award show look or two all feels like the bare minimum. She has arrived, and it’s time to make sure as many people know as possible.
Alicia Urrea: I think the most important thing is making sure that ADÉLA’s presence in pop stardom is bigger than a viral hit. She has already proven that she can get people’s attention; now she needs to turn that attention into a lasting connection with her as an artist. “Ain’t in LA” gave her that initial breakthrough, and “Nicole Kidman” could help prove that it wasn’t a fluke, but the next step is showing fans why they should continue following ADÉLA beyond PRIMA.
This could mean building the world around her — her visuals, live performances, personality, and overall artistic identity — while still letting her music lead. She has some of the major ingredients of a major pop star: the performance ability, the recognizable aesthetic and an audience that is becoming more engaged. The key now is consistency. If she and her team can maintain that momentum without making her feel overexposed or overly manufactured, I think she has a real opportunity to move from “rising star” to someone who feels like a permanent pop phenomenon.
Kristen Wisneski: ADÉLA needs to continue being unequivocally herself, and her team should fully support her in doing so. She’s an absolute powerhouse on stage, and her personality shines through in every song she performs. I want her to continue proudly showcasing where she comes from and celebrating her culture — and never stop talking about it.
