Born to be solo: Adéla’s 2-night performance debut at The Lower Third

When my friends were asking why I was travelling to London, I said, “To see Adéla”. “Adele?”, they replied. "No! Adéla!”. Her name may not yet have cracked the cultural zeitgeist, but it is only a matter of time before Adéla Jergova rises to superstardom.

I felt a real buzz on entering The Lower Third on October 9th. The so-called ‘provocatour’, a play on the title of her debut EP, The Provocateur, sold out in mere minutes – highlighting Capitol Records’ underestimation of the artist's growing momentum.

The 200-capacity venue reverberated with an eclectic energy as I made my way round its winding corridors. The space itself seemed unassuming, appearing more like a dimly lit wine bar than a venue – but as I was directed through more doors, outside into a small courtyard, and down a set of stairs, I felt like I was stepping back in time through the concealed entrance of a speakeasy. This sentiment continued throughout the night, complementing the essence of the main performance perfectly.

You might recognise the 22-year-old Slovakian performer from Netflix’s “Popstar Dream Academy”, where she was praised for her unique star quality. Although she was the first to be voted out of the program, executives of the show highlighted her potential as a solo artist.

Once her training with HYBE concluded, Adéla went on to harness her energy into her performance and professional persona – releasing a debut EP that is deeply rooted in her life experiences.

On entering the event space, I realised how much of an intimate setting it was. The hardly-a-stage was mere inches from the floor with a small catwalk in the centre.

Although she was 45 minutes late from her scheduled start, it amplified the electric energy in a unified crowd of K-pop ‘stans’, underground alternatives, and queer young adults.

Adéla stepped out with her bright pink hair, and a light show to match, opening with ‘Machine Girl’ - a self-reflective song about her time on Dream Academy. Most of her songs are a response to her experiences within the industry and her childhood, such as her second song, ‘HOMEWRECKED’, which delves into her feelings about her father's affair that split her family.

With her music being so raw, it only felt right that the venue was so intimate. This was furthered by Adéla’s close connection to the city of London, as she explained that she spent her formative teenage years there, whilst training as a ballerina.

In between this section and the next, where we heard some unreleased music and a cover of Ariana Grande’s ‘Touch It’, Adéla showed off her ballet training to a strings arrangement that effortlessly blended into her song ‘DeathByDevotion’.

She freely engaged with the audience throughout the show, delivering a performance that was vibrant, gritty, and visceral, displaying a natural talent for her craft.

Since her tour announcement, she has been spotted hanging out with stars like Demi Lovato and Charli XCX, having garnered support from pioneering artists in the pop/ hyperpop industry – from the likes of Grimes to Christina Aguilera (both of whom have starred in her music videos).

With nearly 2 million monthly listeners on Spotify and slots on major festival stages - such as her mesmerising performance at Corona Capital in Mexico City - her exponential rise to fame is undeniable. Given her recent successes, it’s fair to say that such a limited and intimate event won’t be seen again, as her shows get higher budgets. Her creative direction - now free from the shackles of the somewhat suffocating K-pop industry - is what makes her shine, and I can’t wait to see where she ends up in the future.