Adéla could hardly believe that Nicole Kidman knew the song she had written with the actress in mind. During her first Tonight Show appearance on October 22, 2026, the twenty-two-year-old singer called Kidman her muse and reacted to the star's public praise. She also discussed her rise from Slovakia and performed a medley of Nicole Kidman and Ain't In LA with dancers.
Adéla sat opposite Jimmy Fallon for a conversation she once could only have imagined while growing up in Slovakia. Appearing on The Tonight Show on October 22, the young pop singer discussed the reach of Nicole Kidman and her surprise at discovering that the actress herself knew the song. The interview connected a rapidly developing career with a particularly personal form of recognition.
Kidman had mentioned the track during her own visit to the program in September. She expressed surprise that a young artist had written a song carrying her name and praised the singer's talent. The two women were not together in the studio, so the exchange developed through separate television appearances rather than through a shared interview or a personal meeting presented on the show.
When Fallon returned to those comments, Adéla struggled to describe how unlikely the moment still felt. She called Kidman her muse and spoke enthusiastically about the actress. A joke that the star was practically doing charity work by mentioning her name drew laughter, but it also reflected genuine disbelief that someone she admired had publicly recognized her music.
The significance extended beyond the attention of another celebrity. The actress had helped inspire the imagery of the song, making her response different from a general compliment about a successful release. The singer was hearing approval from a person already embedded in her creative world, without having announced a professional partnership with her or written the track as part of a film project.
Adéla also described encountering videos in which Dua Lipa and Pedro Pascal used her music on TikTok. Her initial reaction was suspicion: the clips seemed so improbable that she wondered whether someone was playing a joke or whether artificial intelligence had created them. She said she eventually realized they were real, allowing the story to become another comic account of adjusting to recognition.
Her mother's response added a family dimension. A fellow admirer of Kidman, she was delighted to learn that the actress had praised her daughter. The singer recalled her mother's amused uncertainty about how such an unlikely situation had come together. The conversation gave Fallon room to follow those reactions rather than treating the appearance only as an introduction to a charting single.
American television had been part of Adéla's imagination for years. She watched Disney Channel while growing up and was open about wanting to become famous. Interviews with performers such as Ariana Grande and Miley Cyrus helped shape her picture of the US pop world. Sitting in the same kind of interview setting placed her inside an experience she had previously followed on a screen.
The appearance coincided with another advance for Nicole Kidman. The single had moved from No. 9 to a new peak of No. 6 on the Billboard Hot 100, while the singer had two songs on the chart. The result supplied a measurable sign of the audience she was building, alongside the more personal stories about famous listeners and her mother's reaction.
Nicole Kidman appears on PRIMA, the debut studio album Adéla released in September 2026. The song uses the actress as a reference for glamour, confidence and a sense of transformation. Its cinematic images include Moulin Rouge! and Babygirl, bringing different parts of Kidman's screen identity into a pop narrative shaped by theatricality and humor rather than a literal portrait of her life.
Ain't In LA, another PRIMA recording, has also helped establish the singer in the United States. The two songs share a strong pop personality while presenting different parts of the album. Their pairing on television gave listeners a broader introduction than a performance of only the title that had prompted the actress's comments, linking the interview's main story with another part of the record.
After speaking with Fallon, Adéla moved to the performance stage for her first US late-night musical appearance. She combined the songs into a single medley with a group of dancers. This was a live presentation of existing material, rather than the announcement of another single. The arrangement and choreography created a small theatrical production within the program's music segment.
The staging drew on Moulin Rouge imagery, with coordinated movement and the singer remaining at the center of the dancers. That visual setting matched one of the references already present in Nicole Kidman. It carried the recording's theatrical approach onto television, using choreography and transitions between songs to turn the medley into more than a straightforward reproduction of the studio versions.
For Adéla, the evening joined several scales of experience: a rising chart position, an unfamiliar television milestone and memories of watching similar interviews from home. The most immediate moment remained her reaction to Kidman's praise. The actress had spoken first in September; now the songwriter had a chance to respond in the same studio, with her own music following the conversation.
IMAGE_CREDIT: Todd Owyoung/NBC
