As KATSEYE’s constantly rotating lineup dominates headlines, another alumna from Dream Academy, the reality show on which the group was formed, has emerged as one of the buzziest and most exciting new names in pop music: ADÉLA.

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This year, she’s released a steady stream of conversation-building singles (“KGB,” “Red Bottoms”) while honing her bombastic, dance-driven stage show as a support act for Demi Lovato’s arena It’s Not That Deep Tour. For her opening set, ADÉLA performed a few then-unreleased songs, including “Ain’t in LA,” which went on to make her the first Slovak artist to reach the Billboard Hot 100.

Currently sitting at No. 68 on the chart, “Ain’t in LA” has quickly become one of the most-talked-about singles of summer 2026. From its anthemic chorus heralding the ambitions of underdogs and outsiders to its late 2010s-reminiscent production, ADÉLA’s breakthrough has racked up over 4.1 million TikToks and over 23.8 million official on-demand U.S. streams through Sep. 2, according to Luminate. Academy Award-winning actress Nicole Kidman, whose name inspired the title of a track on ADÉLA’s PRIMA debut LP (out Sep. 4), even chose “Ain’t In LA” to soundtrack her TikTok debut.

Thanks to its chopped and screwed intro, “Ain’t in LA” has drawn many comparisons to Miley Cyrus’ 2013 career-rewriting Hot 100 No. 2 smash “We Can’t Stop.” Grammy-winning songwriter Theron Thomas, who co-wrote both tracks, says, “I’m grateful Miley’s song is such a cult classic… and I’m definitely not mad if we mistakenly stumbled upon it again!”

Thomas, who’s written hits for Rihanna, Lizzo and ROSÉ, got connected with ADÉLA through a trade of sorts. His friend Blake Slatkin, the Grammy-winning producer who helmed the Slovak star’s other two 2026 singles, requested he join them in the studio. Coincidentally, Thomas was in the studio with Sekou, a British R&B singer signed to his and Jeff “Gitty” Gitelman’s Haven Houzin House label, so the two superproducers simply traded sessions. “Ain’t in LA” was the only fully formed song to emerge from it.

Below, Theron Thomas talks to Billboard about how “Ain’t in LA” came together, what excites him most about ADÉLA, working on Shakira and Zara Larsson’s “Eurosummer” remix and who he’s in the studio with right now.

What was it like meeting ADÉLA for the first time?

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.

How many songs did you and ADÉLA write in that session?

We worked on two or three ideas, but “Ain’t in LA” was the only one we fleshed out into a full song. You’re trying to make music for someone’s life and story, and you just met them five minutes ago. I went to her Instagram and saw she was on [Dream Academy], but that doesn’t really tell you the true depth or essence of a human being.

What’s she like in the studio?

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’m happy that I’m a part of ADÉLA’s story.

How do you evoke the feeling of a song without copying it note for note?

It’s weird because the internet is like, “Oh my God, it’s just like Miley Cyrus’ ‘We Can’t Stop!’” And I’m like, “I did both songs.” [Laughs.] No matter what anybody believes, we weren’t trying to recreate “We Can’t Stop.” I do the chopped and screwed thing on songs; I’m fascinated with that Houston culture and love to incorporate it into pop music. My DNA being a part of it, mixed with ADÉLA being a fan of that period of music and “We Can’t Stop,” channeled something.

Me and ADÉLA got to tell our stories together. She’s talking about being the first pop star from Slovakia, and I’m from St. Thomas. The song is exactly how it feels to be someone from outside of mainland U.S., saying, “Man, one day I believe I can do this, even though no one in the world that I know has done it.” Sometimes I know a song is going to be a hit, but I’m not going to pretend like I knew this time.

Why do you think that rebellious, carefree, aspirational energy is resonating with younger listeners today?

The whole world is in a rebellion. The whole world wants to fight back. The whole world wants to hear things that 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. And it’s not just music; 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 am a project kid from the Virgin Islands. I used to run barefoot in front of my house. I grew up in extreme poverty; my bathroom was outside with no electricity or running water. I’m just showing up every day and doing my best. I just want to make sure my wife and kids and my parents are okay. And I want to write songs that transcend. 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.”

How did you end up working on the Shakira remix of Zara Larsson’s “Eurosummer?”

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.

You also contributed a few songs to Lizzo’s last record. What was it like working on that project — and which songs do you think were unfairly overlooked?

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 love Lizzo. I’ve done every album with her since Cuz I Love You. I’ve been welcomed in her world, which I’m super appreciative of. I don’t think people realize how talented Lizzo is. And she can write these songs by herself, not everybody can do that. And she always invites me.

Who else are you in the studio with right now?

I’m working on Sekou’s new album, which is untitled right now. Me and my partner [Jeff “Gitty” Gitelman] are also working on [Southern California singer-songwriter] Tig3r Lewis, our artist that we partnered with at Republic. I also have Susan Carol, who I feel I have some of the best music of my life coming with. I’ve been working with Shakira and doing a lot of work with Pharrell and Timbaland. I’m getting back in the studio with Ciara, one of my dear friends, and me and Usher been talking about new music too.