ADÉLA PRIMA
Released Sep 4, 2026 Capitol Records
Consensus forming 4 professional reviews Updated Sep 4, 2026
Mostly positive consensus
Consensus is still forming across 4 professional reviews. ADÉLA's PRIMA announces a combustible pop persona, mixing ambition, sly humor, and moments of genuine melancholy across an 11-track debut.
How ChoruScore worksCritics' Top Tracks
The songs critics returned to most
Ain't In LA
3 critic mentions
“She honors that young girl throughout the album, most directly on the feel-good “Ain’t in LA.” — Slant Magazine
Nicole Kidman
4 critic mentions
“it’s impossible not to crack a smile when Adéla quips, “Every single night/I pray that my tits are sittin’ right.” — Slant Magazine
KGB
4 critic mentions
“Lead single “KGB” might be sonically indistinguishable from the glut of gay-baiting slop du jour, but it offers a meticulous recounting of the singer’s rise to fame” — Slant Magazine
Full critic consensus
ADÉLA's PRIMA announces a combustible pop persona, mixing ambition, sly humor, and moments of genuine melancholy across an 11-track debut. Critics agree that the record's magnetic highs hinge on performance and placement: “Nicole Kidman” and “Ain't In LA” are repeatedly cited as the clearest proofs of star quality, while “KGB”, “Hitachi” and “Boys” surface as moments where vocal control and production grit align. Across four professional reviews the album earned a 70/100 consensus score, reflecting spirited praise for her charisma alongside notes about uneven polish.
The critical consensus frames PRIMA as a debut of referentiality and purpose - critics name industry cynicism, nostalgia for 2000s pop, and meta-commentary on stardom as recurring themes that inform both lyrics and sound. Reviewers consistently point to striking production choices: neo-industrial stomps, chopped-and-screwed hooks, and sped-up R&B loops that make the best songs on PRIMA land with theatrical force. Praise centers on how those elements let Adéla turn surveillance, hedonism, and homesickness into vivid pop theatre, even when some tracks tip toward pastiche or feel under-polished.
While some critics stress inconsistency, the dominant view treats PRIMA as an accomplished, if imperfect, statement of intent. The record's standout tracks provide a clear answer to whether PRIMA is worth listening to: the album is most compelling when its hooks meet her persona, and those moments suggest a distinct pop star in the making. Below, read full reviews that expand on where Adéla's ambition pays off and where future refinement could elevate her craft.
Track Ratings
How critics rated each track, relative to this album (0-100). Only tracks that made critics feel something are rated.
KGB
Nicole Kidman
I'm The Man
Boys
Red Bottoms
Hitachi
Fantasize
Starving Artist
Marijuana
Therapy
Ain't In LA
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What Critics Are Saying
Deep insights from 5 critics who reviewed this album
Critic's Take
ADÉLA's debut PRIMA arrives like a launchpad, a fearless 11-song cavalcade that makes clear the best tracks are front and centre: “KGB” kicks things off with celebratory subversion, “Hitachi” captures one of her most powerful vocals, and “Ain't In LA” closes with a mighty hip-hop infused, neo-industrial stomp. Robin Murray's voice is admiring and decisive, noting how production and placement - from “Fantasize” into “Starving Artist” and the counterpoint of “Marijuana” and “Therapy” - shape the album's narrative. The review reads like a live set: magnetic, unrelenting, and coherently ambitious, making clear the best songs on PRIMA are those that foreground her star quality and vocal power.
Key Points
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The album's core strength is its confident curation and sequencing, showcasing ADÉLA's star quality and vocal power.
Themes
Critic's Take
ADÉLA arrives on PRIMA with a hunger that fuels the best tracks, especially “Nicole Kidman” and “Ain't In LA”, which show why she should be a pop star. The reviewer's voice prizes her knack for vocal control and sly humor, evident when she leans into lines on “Nicole Kidman” and the career-defining optimism of “Ain't In LA”. The quieter honesty of “Therapy” complicates the record, offering emotional weight amid the dance-ready hits. Overall, the best songs on PRIMA are those that stop telling and start showing her command of persona and melody.
Key Points
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“Nicole Kidman” is best for its compelling vocal performance and skittering, bass-heavy production.
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Prima’s core strengths are determined ambition, witty lyricism, and a mix of dance-ready hooks with emotional depth.
Themes
Critic's Take
ADÉLA wears her 2010s pop influences proudly on PRIMA, and the best songs on PRIMA are the ones where her personality cuts through - “KGB” and “Ain't in LA” feel like direct showcases of her voice and wit. The reviewer’s ear latches onto “KGB” for its meticulous recounting and that rabid croak, and on “Ain't in LA” for its unabashed, feel-good candor. Other highlights like “Nicole Kidman” and “Starving Artist” earn praise for stylish production and sly humor, even when they flirt with pastiche. Overall the album balances cheeky pop craft with moments of melancholy, which is why those tracks stand out as the best songs on PRIMA.
Key Points
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“KGB” is the best song because its meticulous storytelling and that elongated croak make it uniquely memorable.
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Prima’s strengths are its balance of nostalgic pop craft, wry humor, and streaks of real melancholy.
Themes
Critic's Take
In a voice that is both brazen and wry, Adéla on PRIMA turns industry cynicism into pop spectacle, with standouts like “Nicole Kidman” and “Marijuana” cutting through with sharp melodies and sly commentary. The album often feels like a debut still finding its polish, yet songs such as “KGB” and “Red Bottoms” show her knack for mixing hedonism with metafictional lines about fame. Petridis writes with amused authority, celebrating the record's 00s-evoking production while noting its boilerplate moments, which makes locating the best songs on PRIMA an exercise in weighing brash ideas against uneven execution.
Key Points
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The best song is musically vivid and sample-driven, with “Nicole Kidman” exemplifying the album's sharp melodies.
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PRIMA's core strength is candid, witty commentary on pop stardom set to evocative 00s-style production.
Themes
Critic's Take
ADÉLA's PRIMA feels like a coming-out party and a statement record, equal parts swagger and sweetness. The review traffics in vivid comparisons, noting the sped-up R&B loop on “Nicole Kidman” and the chopped-and-screwed hook on “Ain't In LA” as clear high points. Jem Aswad praises how hooks and attitude collide, making songs like “Ain't In LA” and “Nicole Kidman” among the best tracks on PRIMA.
Key Points
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The closing track "Ain't In LA" is singled out as a standout due to its chopped-and-screwed hook and status as a top single.