ADELE
CHASING GLORY
by Cyclone

Every A&R exec longs to uncover an Amy Winehouse. The good news for true music buffs is that they're floundering miserably. Instead pop culture is ushering in, not a clutch of Amy clones, but a fresh wave of inspiring female artistes who, though sharing Winehouse's retro fervour, have their own vibe - and personality. Adele. Duffy. Melbourne's Gabriella Cilmi.
South London's Adele Adkins is holding her own against these 'rivals' with a stellar premiere, 19. And she's hot property globally. The teenager has signed to Sony in the US. Ironically, Adele has just turned 20.
The soulstress is far from precious. She relishes interviews. Adkins, who speaks so fast as to swallow entire clauses, loves to chat.
"I am quite sick of talking about myself," she admits.
Understandably, Adele describes her rise - and rise - as "a blur".
Adkins was the first of the 'nu Amys'. From the get-go, the pressure was on.
Even before airing a single, she was invited to perform Daydreamer, about a bisexual male love interest, on Jools Holland's hallowed TV program. More significantly, Adele won the Brit Awards' inaugural Critics Choice, a prize fostering emerging artists yet to present an LP. Adkins appreciates the controversy surrounding the award.
"I thought it got a bit ridiculous," she says unselfconsciously. "I was very flattered to win a Brit Award - I also felt very uncomfortable winning a Brit Award before I'd done anything."
The British critical reaction to 19 has bordered on perverse, with churlish reviewers complaining that it couldn't conceivably live up to the hype - the same hype they'd generated. Nevertheless, 19 debuted at number one in the UK. At any rate, Adkins, oft depicted as "gobby", doesn't give a damn about the press.
"I really don't care what critics say!," she laughs. "I'd rather be a public choice than a critics' choice."
Adele isn't aligned with a major at home. She's affiliated with the super-indie XL Recordings, which has The White Stripes, MIA and Dizzee Rascal on its roster.
While Leona Lewis gets her Mariah Carey on, Adkins exudes raw authenticity.
19 has been a learning curve. Adele discovered that she could profit creatively from "a sour situation," translating youthful heartache into exquisite balladry.
And if, in approaching 19, she felt hurried, Adele now values patience.
"There were so many times that I wanted to just rush it, rush it, rush it - even if that meant writing shit songs for a shit album that would make absolutely no dent anywhere."
Adkins' favourite icon - and touchstone - is R&B survivor Etta James.
"People think Amy Winehouse is bad - oh my fucking God, you should read about Etta James!" she says excitedly. "She was a heroin addict from a really young age, and she balanced it, and it was part of her charm - which, unfortunately, it is with Amy as well. Part of her charm is the stories you read about her."
There is a link between Adele, whose vice is ciggies, and the rock'n'roll Amy.
Apart from attending the same performing arts school as Amy, Adkins has recorded with Mark Ronson. His Cold Shoulder sounds like vintage Massive Attack. But, cold, Adele's session was not. "I've never laughed as hard as I have when I'm with Mark - he's hilarious," she says fondly. "He's very innovative - and he's very inspiring. He's so laidback, it's unbelievable. Sometimes I think he's smoking weed, but he ain't. He's just great."
As with Ronson, Adkins is predisposed towards covers. On 19 she triumphantly - if faithfully - delivers Bob Dylan's Make You Feel My Love.
Dylan was her manager's idea. Adkins was initially bewildered by the song.
"I couldn't understand the lyrics when Bob Dylan sings it, so I Googled the lyrics, read them - and they're the most stunning lyrics that I've read, and my favourite lyrics that I've ever read and sung and heard! When I heard that song, and heard the lyrics, it just summed up everything that I'd been trying to write in my songs. I prefer my version to his, just 'cause you can't understand what he's singing in his - and I think that's a shame 'cause the lyrics are so beautiful!"
Younger audiences have entered Dylan's world through the (anti) bio-pic I'm Not There. Adele hasn't seen it.
"I can't - I'm still sad about Heath Ledger, so I can't watch it yet."
The pinnacle of 19 has to be the exhilarating Chasing Pavements, but Hometown Glory comes close. Adele's tribute to London surfaced last year on Jamie T's Pacemaker imprint. It exemplifies Adkins best - as the quintessential dreamy London homegirl.
Adele has hinted at relocating to the US, despite enduring homesickness on tour.
"I had a day off last weekend. I was with my friends and I was actually willing to give up my whole career on the Monday, 'cause I had such a great time on the Saturday. But obviously I didn't." Obviously.
Winehouse is ensnared in an industry machine that markets her as a self-destructive pop rebel. Adele is in command. However, in repudiating the cult of size zero, the starlet has expressed dismay that her weight should be critiqued. And Adkins is irritated by the invasive British tabloids.
Soul music's new 'it' girl realises that the way to handle paparazzi is to smile sweetly - it's boring so they bugger off.
Adele is clearly committed to music. But, beyond the biz, her ambitions are surprisingly traditional. She dreams of being a... domestic goddess.
"I'd like to work behind the scenes," she muses. "I'd like to write songs for other people and be an A&R, I'd like to be a producer for a TV show, on the music side, I'd like to be a journalist - but I'll do that after this. I want children. I wanna be a wicked mum and lovely wife - that's what I want more than anything. Until I have that, I won't be doing anything else."
19 is out through Remote Control.

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