Pioneers of Music — New Generation
Every generation of music has artists who inherit what came before them and artists who figure out how to use those influences differently.
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ADÉLA belongs in the second group.
The Slovak singer, songwriter and dancer represents exactly what the Pioneers of Music — New Generation campaign is designed to explore: artists who understand the traditions that built modern music but are developing new ways to package, distribute, visualize and market their work to a global audience.
Born in Bratislava, ADÉLA spent much of her youth training in ballet, including studies connected to the Vienna State Ballet and English National Ballet School, before turning her attention toward music. She later moved to Los Angeles, competed in HYBE and Geffen Records' Dream Academy, and eventually pursued a solo career.
Her path since then has been anything but conventional.
From Slovakia to the Billboard Hot 100
In 2026, ADÉLA crossed a milestone no Slovak artist had reached before.
Her single "Ain't in LA" became the first recording by a Slovak artist to enter the U.S. Billboard Hot 100. By mid-September, the song had climbed to No. 30. Her follow-up "Nicole Kidman" then debuted at No. 45, giving ADÉLA two simultaneous Hot 100 entries. Her debut studio album, Prima, entered the Billboard 200 at No. 4.
That is significant for more than chart history.
ADÉLA is demonstrating that a modern pop artist does not have to emerge from one of the industry's traditional geographic centres to build an international audience.
That message is embedded directly into "Ain't in LA." The song became connected to a social-media trend built around the idea that not everyone has to be in Los Angeles—someone has to represent the place they come from. The campaign spread heavily through TikTok, while the music video itself was shot in ADÉLA's hometown of Bratislava even as it played with Hollywood imagery.
For Pioneers of Music, that makes her particularly interesting.
She is simultaneously participating in the global pop system and challenging the assumption that global pop culture must originate from the traditional centres of that system.
ADÉLA Is Treating Music as More Than an Audio Product
One of the clearest differences between previous generations of recording artists and today's emerging stars is that the song is no longer the complete product.
For ADÉLA, a release can become music, choreography, fashion, video, social content, cultural references, memes, fan participation and live performance.
That approach is especially visible in "Nicole Kidman."
The Hannah Lux Davis-directed video does not simply accompany the song. It builds an entire visual concept around Nicole Kidman's career, referencing Eyes Wide Shut, Moulin Rouge!, Birth, Babygirl and Kidman's well-known AMC Theatres commercial.
The idea itself came from an unexpectedly simple moment. ADÉLA has explained that after getting dressed for a Golden Globes event—with glamorous hair and an extremely tight corset—she suddenly felt like Nicole Kidman. That thought eventually became a song and then a cinematic visual campaign.
Then something even more unusual happened.
Nicole Kidman joined the conversation.
The actress publicly said she was a fan of ADÉLA and used "Ain't in LA" when launching her TikTok account.
A song inspired by celebrity culture therefore generated a music video inspired by cinema, reached the celebrity who inspired it, and then returned to social media through that celebrity's own participation.
That circular relationship between music, celebrity, visual culture and social media is very much a New Generation model of music marketing.
Turning Social Media Into Part of the A&R Process
ADÉLA's career also illustrates how artist discovery itself is changing.
Her 2025 single "Machine Girl" was co-produced by Grimes—but the relationship did not begin through a traditional record-industry introduction. Grimes discovered ADÉLA after hearing "Homewrecked" on TikTok and contacted her directly.
ADÉLA later described staying in Los Angeles after Dream Academy and essentially building her solo career herself: writing songs, stacking vocals and assembling elements of her visual identity while developing an audience. The FADER characterized that period as a form of grassroots pop-star construction before she eventually signed with Capitol Records in 2025.
That sequence matters.
The old industry model often looked something like:
Artist → A&R discovery → record deal → recording → marketing → audience
The emerging model can look more like:
Artist → content → community → algorithmic discovery → collaboration → momentum → label → global amplification
ADÉLA's career contains elements of both systems.
And that is precisely where Pioneers of Music — New Generation becomes interesting: documenting not only who is becoming successful, but how the machinery of becoming successful is changing.
Prima: Building a Pop Identity Instead of Following a Formula
ADÉLA has described Prima as an attempt to capture the contradictions of being a 22-year-old woman rather than smoothing them into a predictable pop persona.
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She described combining hard and soft, vulnerability and swagger, muscular beats and feminine energy. She also connects the album title to her ballet background: prima means "first," while "prima ballerina" evokes the leading dancer—a deliberate reference to her ambition to become what she calls the "prima ballerina of pop."
That combination of disciplines matters.
Ballet gave her movement.
Pop gave her sound.
Social media gave her distribution.
Video gave her a visual language.
Internet culture gave audiences a way to participate.
And the recording industry eventually supplied the infrastructure to scale what was already taking shape.
Her background also connects directly to earlier generations of pop. ADÉLA has cited artists including Beyoncé, Lady Gaga, Mariah Carey, Whitney Houston, Aretha Franklin, Madonna, Janet Jackson, Britney Spears and Miley Cyrus among her musical and visual influences.
That is the Pioneers-to-New-Generation connection in action.
She is not creating in a vacuum. She is taking lessons from performers who established the vocabulary of modern pop spectacle and applying them inside an entirely different distribution environment.
Failure Became Part of the Brand Story
Another aspect of ADÉLA's story separates her from the carefully manufactured introduction traditionally associated with pop stars.
Her first major international exposure included a very public rejection.
She was one of the first contestants eliminated from Dream Academy, the HYBE-Geffen competition that ultimately produced KATSEYE.
Instead of disappearing after the competition, she used the visibility surrounding it as part of the next chapter.
That is increasingly characteristic of the creator economy: an artist's setbacks, development process and reinvention can all become part of the public narrative.
ADÉLA did not need audiences to believe she had arrived fully formed.
They could watch the transformation.
From Streams to Experiences
Her campaign around Prima also shows that digital marketing does not have to remain entirely digital.
Ahead of a Toronto headline performance, ADÉLA staged a one-day album pop-up featuring exclusive merchandise, photo opportunities, fan activations, music and giveaways. Her Toronto headline show was sold out, part of a broader North American tour supporting the album.
This creates another modern music flywheel:
Song → social discovery → fan participation → streaming → merchandise → live event → social content → more discovery
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For independent and developing artists watching ADÉLA's rise, that may be one of the most important lessons.
The music is still at the centre.
But the asset surrounding the music is much larger than the audio file.
Why ADÉLA Fits the Pioneers of Music — New Generation
The purpose of Pioneers of Music is not simply to celebrate the past.
It is to connect the people who built music culture with artists who are carrying its ideas into a very different technological and commercial environment.
ADÉLA represents that bridge.
Her work draws openly from previous generations of singers, dancers, visual performers and pop provocateurs. But the infrastructure around her career is distinctly contemporary.
She is using:
- cinematic music videos as cultural events;
- choreography as part of artist identity;
- social platforms as discovery and distribution channels;
- fan-generated content as marketing infrastructure;
- celebrity references as participatory culture;
- international identity as an advantage rather than a limitation;
- physical pop-ups and live shows to convert digital attention into real-world community;
- and each release as a collection of reusable music, visual, social and commercial assets.
That is music done differently.
And it is why ADÉLA belongs in the New Generation side of the Pioneers of Music story.
The New Wave Is Global
Perhaps the most compelling part of ADÉLA's rise is where it started.
Not Los Angeles.
Not New York.
Not London.
Bratislava, Slovakia.
"Ain't in LA" turned that reality into part of the proposition rather than something to overcome. The artist who once moved to Los Angeles chasing pop stardom is now reaching international audiences while deliberately putting her original home into the story.
For previous generations, breaking globally often required access to a small number of powerful industry gates.
Those gates still matter—but they are no longer the only entrances.
Social platforms, digital distribution, highly visual storytelling and globally connected audiences are creating new paths.
ADÉLA is already walking one of them.
The pioneers built the vocabulary of modern pop. ADÉLA is showing how the next generation can speak that language through a completely different media system.
That is why she is one to watch in Pioneers of Music — New Generation.
ADÉLA's official YouTube channel includes her music videos and additional content around her releases:
Explore Adela on PMN Video Discovery
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