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ADÉLA’s full-length album Ain’t In LA, rooted in the creative ecosystem of the Philippines, rejects the narrow genre siloing that forces so many creators to trim their work to fit pre-existing audience expectations, landing in the open, unconstrained space marked by the classification Music/Other/Other, a category reserved for work that cannot be mapped onto any of the more mainstream, widely recognized genre frameworks that dominate cataloging systems for recorded music around the world. For too long, genre classifications have operated as more than just organizational tools; they have functioned as gatekeeping mechanisms, pushing artists to align their work with commercial trends if they want to be seen, heard, or sorted into any of the familiar buckets that audiences and industry gatekeepers have come to rely on to process new music.
