There’s a mismatch with Adéla’s debut album, PRIMA.
The pop artist’s album was released last Friday, and the response from fans has been mixed, to say the least. Fans acknowledge Adéla’s obvious talent as a vocalist and dancer, but one fan, @grandesrockwell on X, expressed that the album is “underwhelming, not bad,” and that Adéla just needs to find her sound.
Despite the mixed reception, PRIMA earned 10.69 million streams on Spotify in its first day, and aims to chart at #4 on the Billboard Top 200. This is bolstered by strong physical sales and the success of the single “Ain’t In LA,” which is currently at #9 on Spotify’s Global Top 50 chart. Fan and critic responses don’t seem to align with the album’s commercial performance, with most people saying they prefer Adéla’s earlier sound.
Adéla’s sound has transitioned over time. She released her first project, an EP entitled The Provocateur late last year. It blended experimental electronic pop and harsh noise, while PRIMA leans more into contemporary pop, with fans comparing it to mid-career Ariana Grande or Tate McRae.
Critics are split on the album. Rolling Stone’s Larisha Paul said that her risk-taking on the album paid off, while Pitchfork’s Walden Green said the album lacks personality.
Adéla is no stranger to criticism. She made her name on the Netflix show Pop Star Academy, which chronicled the creation of the successful “global pop” group KATSEYE. Adéla was cut first from the group after a combination of judge and fan voting, with judges stating that they “see her as a solo artist.” KATSEYE fans also took issue with some of her comments about former KATSEYE member Manon Bannerman’s work ethic, leading to a hate campaign on social media.
PRIMA is a competent album. The songs are catchy, and Adéla clearly has a talent for singing, dancing, and image-making, which are all important for a fledgling pop star. Still, across the album, Adéla plays it safe. She may achieve a new level of stardom with this album, but is it worth the creative compromises?
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