ADÉLA "KGB" Single Review

"KGB" Album Art

Magda Kanecka & Sanne Boere | May 2026

Magda

Adéla Jergova, or ADÉLA, is a Slovakian singer-songwriter mostly known for her disco-fueled tracks and her appearance in the Netflix docu-series “Pop Star Academy”, which formed the global girl-group KATSEYE.

Her solo career has taken off rapidly, with Adéla listing other pop influences such as Britney Spears, Christina Aguilera and Lady Gaga as her biggest inspirations.

She released her debut EP, “The Provocateur”, in August last year, and since then, tracks such as “Superscar” have gained social media success on platforms like TikTok for their complex choreography and gorgeous, often purposefully provocative styling that fit the EP’s theme.

ADÉLA has now entered a new era of her music with the release of “KGB”, which remains true to Jergova’s musical style while also doing what the pop star does best: push boundaries and show she is not afraid to be her true self in the race to stardom.

In the music video for “KGB”, Adéla goes back to her roots as a ballerina, in Swan Lake-style movements, turns, and costumes. The choreography present throughout pays close attention to her past and her self-expression as an all-around pop star, not just a singer-songwriter.

The beat on this track is so fun – especially on its chorus – and as a Slavic woman myself, the overall vibe of the song, all things considered, feels like ADÉLA describing her experience of moving into an industry that typically hasn’t been so welcoming of her background, often stigmatising stereotypes that are untrue in practice.

The influences of previous big pop girls are evident in ADÉLA’s music in such a fun and playful way – they feel like a tribute to her motivations and precursors, rather than an attempt at recreating their success.

Sanne

On “KGB,” ADÉLA delivers a track that feels sharp, and at first listen, almost unserious. It’s bold, a little cheeky, and very aware of how it sounds. However, beneath that confidence lies a story of ambition and identity.

The core metaphor of the song is right there in the hook: “I’m like a spy, I studied this shit, call me the K-G-Bitch.” On paper, it’s bold, maybe even provocative, in true ADÉLA fashion. But with context, it becomes something much more layered.

The KGB, short for Komitet Gosudarstvennoy Bezopasnosti (Committee for State Security), was the Soviet Union's spy agency from 1954 to 1991. ADÉLA uses the ‘spy’ imagery to reflect her experience as a Slovak artist moving to the U.S. and learning how to navigate a completely new culture and industry, often feeling out of place in the process. 

It’s not about glamourising the KGB – it’s about survival, adaptation, and watching carefully before making your move. That idea shows up immediately in the first verse: “Just a little European girl, was plotting on my rise / Eighteen, immigrated (Yeah), a star in the making.” There’s no hesitation here. She knows exactly what she wants, and she’s not pretending it came easy. 

One of the most striking things about “KGB” is its directness. Lines like “No, I’m not being cocky, I just worked my whole life” don’t feel like bragging, but like a correction. It’s like she’s setting the record straight before anyone else can twist the narrative. 

That same energy carries into the pre-chorus: “I was, like, eight, working the nightshift to learn English.” This is not just a lyric, it’s something rooted in reality.

In interviews, ADÉLA has shared that she secretly taught herself English as a child, driven by a belief in her future that she didn’t yet feel comfortable saying out loud. That line reframes the entire song: she’s built and shaped her confidence on her own.

Because of its title and imagery, “KGB” could easily be misinterpreted, but ADÉLA has been very intentional about clarifying her stance. In a statement included with the song’s music video release, she added a disclaimer explaining that the track is not an endorsement of the KGB or its history, but rather an acknowledgement of where she comes from and the environment she grew up in. 

“Growing up in Slovakia, it was impossible to escape the harmful influence of the Soviet Union. “KGB” and its video are not an endorsement of the organization or their actions, but an acknowledgement of where I’m from.” She says, while also explicitly stating that she does not support the Russian government and stands with the people of Ukraine.

That context doesn’t just matter; it changes how the entire song is heard. What could’ve been controversial now becomes personal.

“KGB” isn’t subtle, and it’s not trying to be. It’s confident, a little messy, and completely self-aware. More than anything, it’s a statement: ADÉLA knows exactly who she is, where she came from, and what she had to do to get here; and she’s not about to let anyone else tell that story for her.

Follow Adéla here!

Listen to “KGB” here!