The global pop landscape is currently undergoing a structural realignment, marked by the decentralization of traditional music industry hubs and the rise of boundary-pushing international artists. At the epicenter of this shift is ADÉLA, a breakout pop singer-songwriter whose ascent has redefined the trajectory of modern crossover stardom. As an alumna of the hyper-competitive reality survival series Dream Academy, ADÉLA has rapidly transitioned from a promising trainee to a chart-topping global phenomenon.
Her seismic breakthrough arrived with the single “Ain’t in LA,” a track that made history by crowning her the first Slovak artist to land on the Billboard Hot 100. Currently anchoring at No. 68 on the chart, the track has transformed into a defining anthem of the summer, driven by massive viral adoption and over 23.8 million official on-demand U.S. streams. The song’s late-2010s production style, coupled with a distinctively chopped-and-screwed Houston-influenced intro, has drawn widespread acclaim and inevitable comparisons to generational pop milestones, most notably Miley Cyrus’ 2013 smash “We Can’t Stop.”
Behind the boards of this generational crossover is Grammy-winning songwriter Theron Thomas, whose multi-decade career includes defining hits for Rihanna, Lizzo, and ROSALÍA. In an exclusive interview, Thomas pulls back the curtain on the organic studio session that birthed “Ain’t in LA,” detailing ADÉLA’s formidable creative leadership, the shared worldview of artists rising from outside mainland U.S. cultural epicenters, and the broader rebellious spirit powering today’s youth culture. Beyond ADÉLA, Thomas offers an insider’s perspective on working with icons like Shakira and Lizzo, while teasing forthcoming projects with industry titans including Pharrell, Timbaland, and Usher.
Detailed Chronology: From Dream Academy to Historic Chart Success
ADÉLA’s journey to the upper echelons of the Billboard charts is a masterclass in strategic resilience and artistic reinvention. The timeline of her emergence maps out a rapid-fire succession of high-stakes milestones that cement her as one of pop’s most formidable new forces.
The Post-Dream Academy Pivot
While reality survival show cohorts like KATSEYE dominated early headlines following the conclusion of Dream Academy, ADÉLA quietly charted an independent, fiercely distinct path. Recognizing that corporate-molded group formats could not fully contain her expansive artistic vision, she pivoted toward a solo career defined by high-octane, dance-driven spectacles. Rather than resting on the built-in audience of the reality show, she began systematically releasing conversation-building singles throughout the year—including the gritty, club-ready tracks “KGB” and “Red Bottoms.”
The Arena Tour Incubation
To sharpen her live performance chops, ADÉLA secured a coveted opening slot on Demi Lovato’s arena-scale It’s Not That Deep Tour. Rather than playing it safe with established cuts, she utilized the massive platform of major-market arenas to road-test unreleased material. Among these test-drive tracks was “Ain’t in LA,” a song whose immediate, visceral audience reception signaled that a commercial breakthrough was imminent.
The Historic Chart Breakthrough
“Ain’t in LA” officially crossed over from a live-set favorite to a mainstream commercial juggernaut upon its wide release. The track’s rebellious, underdog-centric lyricism struck a nerve with global listeners, propelling ADÉLA into the history books as the first Slovak artist to breach the Billboard Hot 100. Climbing to No. 68, the single has become a cultural touchstone of the summer, further amplified by mainstream endorsements—including an unexpected TikTok debut by Academy Award-winning actress Nicole Kidman, who used the track to soundtrack her viral arrival on the platform. The momentum culminates with the release of ADÉLA’s debut full-length LP, PRIMA.
Supporting Context & Metrics: The Anatomy of a Viral Smash
The commercial and cultural footprint of “Ain’t in LA” extends far beyond traditional radio metrics, reflecting the modern realities of algorithm-driven hitmaking and cross-demographic resonance.
Streaming and Social Velocity
According to data compiled by Luminate through September 2, “Ain’t in LA” has amassed over 23.8 million official on-demand U.S. streams. Simultaneously, the track has functioned as a premier canvas for short-form video creation, inspiring over 4.1 million individual TikTok creations. This dual engine of passive streaming and active user generation has solidified the song’s status as an organic earworm rather than a manufactured algorithmic push.
The "We Can’t Stop" Connection
Critical and fan discourse surrounding the track has heavily centered on its structural similarities to Miley Cyrus’ 2013 cultural earthquake, “We Can’t Stop.” The conceptual and sonic bridge connecting the two tracks is Grammy-winning songwriter Theron Thomas, who co-wrote both smashes. While internet sleuths were quick to draw parallels, Thomas notes that the resemblance is rooted in a shared reverence for sonic subversion rather than conscious replication.
The inclusion of a chopped-and-screwed intro—a deliberate nod to Houston hip-hop culture—serves as a primary driver of this nostalgic yet modern soundscape. Thomas, a native of St. Thomas in the U.S. Virgin Islands, and ADÉLA, a native of Slovakia, bonded over a mutual understanding of what it means to view the American pop machinery from an outsider’s perspective. This shared geographical and psychological distance from traditional entertainment hubs infused the writing room with a raw, aspirational hunger that permeates every second of the recording.
Official Statements & Insights: Inside the Writing Room with Theron Thomas
In a comprehensive interview, Theron Thomas breaks down the mechanics behind the studio session that changed the trajectory of modern pop, offering rare insight into ADÉLA’s work ethic, the state of contemporary pop rebellion, and his sprawling production slate.
Meeting ADÉLA and Decoding Her Persona
Reflecting on their initial meeting, Thomas highlights the immediate authenticity that set ADÉLA apart from industry peers.
"I immediately loved the uniqueness of her personality. She was very honest; she gave me that Katy Perry effect, where she’s very in tune with what’s going on. Very nice, but not fake. We worked for two or three days, and ‘Ain’t in LA’ was the last song we did."
Despite having only known the singer for a matter of days, Thomas was tasked with helping her articulate her deepest life story through song. Reviewing her background via social media and her Dream Academy tenure provided surface-level data, but it was her formidable presence in the studio that truly left a lasting impression.
"I think ADÉLA is a gangster. She led a room of all men and stood on what she believed in. She wasn’t intimidated, but she was humble enough to be like, ‘Hey, these guys have been doing it longer than me; let me hear what they have to say.’ And not everybody is so pleasant! I hope she calls me back. I’I’m happy that I’m a part of ADÉLA’s story."
The Philosophy of Underdog Aspiration
Addressing why the carefree, anti-establishment ethos of “Ain’t in LA” is connecting so profoundly with Gen Z and younger listeners, Thomas points to a global cultural zeitgeist defined by pushback against traditional systems.
"The whole world is in a rebellion. The whole world wants to fight back. The whole world wants to hear things that [reflect] the real moments of life, and ‘Ain’t in LA’ is bringing back that kind of artistry to pop music again. Maybe you don’t have to leave your small town in Mexico; you can make your music, post it on TikTok, and become the next Selena or Celia Cruz."
Drawing from his own upbringing in extreme poverty in the Virgin Islands—where he grew up running barefoot with an outdoor bathroom lacking running water or electricity—Thomas emphasizes that the song’s core message transcends music entirely.
"If somebody wants to be a lawyer, a doctor, an actor, a scientist, a rocker, or an astronaut, I believe that ‘Ain’t in LA’ resonates with them… I want to make music that the kid in the Philippines and the kid in Korea and the kid in St. Thomas hear and say, ‘Wait a minute, I can do this just like him.’"
Expanding Horizons: Shakira, Lizzo, and All-Star Collaborations
Thomas’ touch extends far beyond his work with ADÉLA. Discussing his recent contribution to the Shakira remix of Zara Larsson’s “Eurosummer,” Thomas reveals how a high-pressure deadline forged a lasting creative partnership.
"My friend [Ezekiel Lewis] at Epic Records called me and said he needed a verse for Shakira in two hours. I hopped in a car, went to the studio, knocked out the verse, and sent it back. Shakira obviously liked it, and she added her tweaks to make it even better. Then she was like, ‘I think you’re dope, would you like to work with me?’ That song was the intro to me being able to work with her."
Reflecting on his extensive catalog with Lizzo—having contributed to every album since Cuz I Love You—Thomas champions tracks that he feels deserve a second wind in the cultural zeitgeist.
"I did four [songs] on that album. I really believe ‘Sexy Ladies’ should have been bigger, and I think it still has an opportunity. I also thought ‘Good Morning’ was really powerful… I don’t think people realize how talented Lizzo is. And she can write these songs by herself, not everybody can do that."
Future Outlook: What’s Next for ADÉLA and Theron Thomas
As the music industry processes the shockwaves of ADÉLA’s historic chart entry, the horizon looks intensely active for both the rising pop star and her elite collaborators.
ADÉLA’s Trajectory Post-PRIMA
With the arrival of her debut LP, PRIMA, ADÉLA faces the ultimate test of sophomore-level staying power in real-time. Having proven her ability to command arena stages as a supporting act and infiltrate the Billboard Hot 100 on her own terms, the blueprint is set for her to transition into a primary headlining force. Industry analysts anticipate that her cross-continental appeal—anchored by her European roots and American chart dominance—will position her as a blueprint for a new wave of borderless pop stars who bypass traditional U.S.-centric artist development pipelines.
Theron Thomas’ Production Pipeline
Meanwhile, Theron Thomas shows no signs of slowing down his prolific output across hip-hop, R&B, and global pop. Teasing his current studio schedule, Thomas confirms he is knee-deep in crafting the upcoming, untitled album for British R&B sensation Sekou under his Haven Houzin House label (co-run with Jeff “Gitty” Gitelman).
Additionally, Thomas and Gitelman are actively developing Southern California singer-songwriter Tig3r Lewis via a partnership with Republic Records, while finalizing what Thomas describes as "some of the best music of my life" with Susan Carol. Beyond these ventures, Thomas’ calendar is stacked with sessions alongside Shakira, Pharrell Williams, Timbaland, Ciara, and Usher—assuring that his distinct rhythmic and lyrical DNA will remain an indispensable driving force in global popular music for years to come.
