Adela Jergova: artist music profile and overview of performances
Adéla Jergová, who releases music under the stage name ADÉLA, is a Slovak singer, songwriter and dancer from Bratislava. Before beginning her solo music career, she underwent demanding ballet training in Vienna and London, and attracted wider international attention by participating in the Dream Academy project, from which the group KATSEYE was formed. Although she did not make the group's final lineup, the competition experience and her later appearance in the documentary series Pop Star Academy: KATSEYE increased her recognition before the start of her solo career.
Her musical expression is rooted in contemporary pop, but often ventures into electronic, club-oriented and more experimental production. She debuted with the song „Homewrecked“, followed by „Superscar“, and then continued developing a more pronounced electronic sound through songs such as „MachineGirl“, „DeathByDevotion“ and „SexOnTheBeat“. The debut EP The Provocateur connected different phases of her early development as a songwriter, from more melodically direct pop to harder synthesizers, industrial textures and production tailored to the dance floor.
During 2026, her repertoire expanded further with the songs „KGB“, „Red Bottoms“ and „Ain't In LA“. They precede her first studio album PRIMA, announced for September 4, 2026. The album title is connected with her ballet background and the concept of a prima ballerina, while the music itself is conceived as a combination of stronger pop productions and more vulnerable songs. „Ain't In LA“ also directly returns to her roots: the accompanying video was filmed in Bratislava, the city from which she set out toward professional ballet and later an international music career.
In contemporary pop, ADÉLA stands out by combining songwriting, choreography and a clearly defined visual identity. Her ballet discipline is evident in the way she approaches movement and performance, while her songs often address ambition, attitudes toward public image, autonomy, insecurity and the pressures of the music industry. As a result, audience interest is not tied only to individual songs but also to the way she transforms them into a stage performance, something that has become particularly important as the number of solo concerts and tours has grown.
Concerts and live performances
ADÉLA's concert identity relies heavily on dance. Years of professional ballet training provide her with a foundation for precise choreography, movement control and more physically demanding performance, so the songs are conceived in a way that allows them to function as part of a broader stage presentation. Electronic rhythms and pronounced bass further emphasize the club character of part of the repertoire, while slower or more emotionally open moments create contrast within the performance.
After her first solo concerts in London, New York and Los Angeles and The ProvocaTour, her concert activity expanded considerably. She also performed as an opening act on Demi Lovato's North American tour, and The Red Bottoms Tour was launched in 2026. After starting in London, the tour covers a series of cities in the United States, Canada and Mexico, along with festival appearances, while European concerts have also been announced for early 2027.
Audiences most commonly associate her with songs such as „Homewrecked“, „Superscar“, „MachineGirl“, „SexOnTheBeat“, „KGB“, „Red Bottoms“ and „Ain't In LA“. As the repertoire expands toward the album PRIMA, the amount of material available for concerts also changes, so the setlist may differ between a tour show, a festival performance and an individual solo concert. The performance aspect is particularly important to her profile because choreography, vocals and visual presentation give the songs a different dynamic from their studio recordings.
Why do audiences follow Adela Jergova live?
- Ballet and dance background: Professional dance training is an important part of her stage identity and allows choreography to be an integral part of the performance rather than merely an addition to the songs.
- Recognizable songs: In a short period, the repertoire expanded from „Homewrecked“ and „Superscar“ to „KGB“, „Red Bottoms“ and „Ain't In LA“, along with material from the EP The Provocateur.
- A blend of pop and club production: Electronic rhythms, synthesizers and harder production details create material that can take on a stronger physical and dance-oriented character in concert.
- Distinctive songwriting identity: The songs often deal with ambition, public perception, relationships, independence and the experience of a young performer within the music industry.
- Development of the concert repertoire: The announced album PRIMA brings additional songs alongside already familiar material, expanding the possibilities for different dynamics at solo performances.
- Active concert period: The Red Bottoms Tour and festival appearances confirm the transition from the first more intimate concerts toward a considerably broader international schedule.
How to prepare for the concert?
An ADÉLA concert should primarily be viewed as a contemporary pop performance in which music and movement are closely connected. Before attending, it is useful to listen to The Provocateur and the newer singles „KGB“, „Red Bottoms“ and „Ain't In LA“, and after the release of the album PRIMA, material from that release as well. This makes it easier to follow the transitions between more electronically intense songs and the more emotional parts of the program.
Practical preparation depends on the specific venue. Before setting out, you should check the venue address, door opening time, any age restrictions, and the rules concerning bags and items that may be brought inside. Since some concerts may have a standing floor section, comfortable footwear is particularly important, and for more popular dates it is useful to plan transportation and the return journey after the performance in advance.
Tickets, dates and availability
Ticket availability for ADÉLA's concerts varies according to the city, venue capacity and the specific part of the tour. Her first solo performances attracted considerable interest, while the expansion of the schedule to a larger number of cities means that availability can differ significantly from one concert to another.
Before choosing a date, it is useful to compare the location, venue configuration and seating category. Particular attention should be paid to whether it is a solo concert, festival performance or another type of event, because the duration of the program and the concert format may differ.
Interesting facts about Adela Jergova you may not have known
Before professionally turning toward pop music, Adéla Jergová spent years building a career through classical ballet. She trained in Vienna and later in London, so her present-day combination of singing and demanding choreography builds on experience gained long before her first singles. After moving to Los Angeles, she participated in the Dream Academy project, but elimination from the competition did not mark the end of that path. Instead of joining the group, she continued as a solo performer and soon began releasing her own material.
The speed with which she developed a circle of collaborators is also noteworthy. „MachineGirl“ was created with Grimes participating in the production, while later songs involved songwriters and producers connected with different areas of contemporary electronic and pop sound. The title of her first album PRIMA simultaneously connects two phases of her life: the word denotes her first full-length studio album, but it also directly draws on terminology from the ballet world from which she emerged.
What to expect at the performance?
ADÉLA's performances are based on a combination of pop vocals, electronic production and choreography. Faster songs naturally carry a greater share of the dance energy, while songs with more prominent vocals or more personal lyrics allow for a change of pace. As a result, the concert is not merely a sequence of studio versions of songs but a performance in which movement and stage presentation play an important role.
The best-known singles logically occupy an important place in audience interest, but it is not useful to assume the exact song order in advance. The repertoire is currently in a period of rapid expansion because of the album PRIMA and the current tour, while a festival performance may be shorter and structured differently from a full solo concert.
Visual identity, costumes, dance and distinctive electronic production complement what audiences already know from the recordings. For a performer whose professional history began with the discipline of classical dance, a live performance is naturally the place where her two main performance sides come together most clearly: pop music and physically precise stage performance.