studio, keys, major, minor

As Adele steers by way of a South London high-street in the four-door Mini Cooper, back with her toddler’s vacant carseat in back as well as remains from the kale, cucumber and almond-milk concoction inside cup holder, a challenge occurs to her. “What’s been going on in the world of music?” she asks, in many sincerity. “I feel in the loop!”

The only possible facts are way too easy: Well, there’s that certain album the entire industry is awaiting…

“Oh, f*** off!” Adele says, giving me a gentle shove and letting loose the charmingly untamed laugh — an ascending cascade of forceful, cartoonish “ha’s” — that inspired a YouTube supercut called “The Adele Cackle.”

“Oh, my God, imagine,” she continues, green eyes widening. “I wish! I feel like I might become a year far too late.” It’s just as if her last album, 2011’s 21, hadn’t sold a miraculous 31 million copies worldwide in the era when nobody buys music, as if it hadn’t sparked the adoration of peers from Beyoncé to Aretha, like it hadn’t won every conceivable award short in the Nobel Peace Prize.

“But genuinely,” she says, “I’ve lost touch with music. Not, like, all music” — she’s interested in FKA Twigs, loves Alabama Shakes, snuck into your crowd at Glastonbury to find out Kanye — “but I feel like I don’t know what’s going on from the charts plus in popular culture.” She laughs again. “I’ve not lost touch with, like, reality. Just with what’s current.” Her Cockney accent is softening lately, but she still pronounces “with” have fun with this ends using a “v.” Check Adele hello sheet music page.

She’s driving within sky that’s gray and dismal even with the standards of early October London afternoons. Rain is arriving, threatening Adele’s intentions to take her three-year-old son, Angelo, for the zoo later. No one inside the passing vehicles recognizes her. They never do, not in this particular car. “Maybe if I went 100 %, done-up, hair-and-makeup drag,” she says. “Which it’s: borderline drag! I’m not brave enough to acheive it.” Instead, she’s dressed similar to a grad student who barely awakened in time for class, in the drapey blue-black sweater created from some hemplike fabric — it would almost be from Kanye’s dystopian fashion collection — over black leggings and white low-top Converse. Her golden locks are gathered in a very loose bun, and she’s wearing twin hoop earrings in each ear. Her makeup is minimal, even though she states be developing a wrinkle or two, she looks strikingly young, creating a clotted-cream complexion definitely worth the cosmetics endorsements she’s rejected.

Adele is fresh from your rehearsal back with her backing band, where she perched for the chair facing the musicians and sang her first-ever live version of “Hello,” the melancholy, surging first single from her third album, 25, due November 20th. (She turned 27 in May, but named the album following age when she began concentrate on it: “I’m getting a great deal f*** grief: ‘Why is it called 25 when you find yourself not 25?'”) “Hello, it’s me,” she sings at the outset on the single, just as if there could be any doubt. When she finally puts the song out a little while later, it’ll accrue a record-setting 50 million YouTube views inside first two days.

With younger to raise, Adele took an unhurried way of making the album. A full few months passed between writing the verses of “Hello” and nailing the chorus. “We had half a song written,” says producer/co-writer Greg Kurstin, who couldn’t know if Adele was ever prone to come back and take care of it. “I just should be very patient.”

The lyrics appear to be she’s addressing some long-lost ex, but she says it isn’t about anyone person — which she’s managed to move on from your heartbreaker who inspired 21. “If I remained as covering him, that’d be terrible,” she says. “‘Hello‘ will be as much about regrouping with myself, reconnecting with myself.” As for the line “hello within the other side”: “It sounds just a little morbid, like I’m dead,” she says. “But it’s just from the other side of becoming an adult, so that it is out alive from a late teens, early twenties.”

Adele still hasn’t decided whether she’ll carry out a full-scale tour behind 25 — at the moment, the rehearsals are for TV performances. Her band carries a few users, and she’s especially excited to get a percussionist initially, an addition inspired by her childhood idols: “The Spice Girls experienced a mad percussionist,” she says.

In public, at the very least, Adele has experienced little to state — and zip to sing — inside the last year or two, not since she and collaborator Paul Epworth won an Oscar for “Skyfall,” the primary decent James Bond theme song in forever. “When I have nothing to show,” she says, “I’d rather not talk.” But it takes just a couple of minutes with your ex-girlfriend to see that silence isn’t exactly her natural state. “I’m just f*** awaiting Frank f**** Ocean to be sold with his album,” she says. “It’s taking so f**** long.” She blinks, pauses, laughs again. “That sounds so stupid, received from me, right?”

On some level, Adele will not likely allow her success to restore too deeply past her skin. She still sees herself as “some random girl from London,” albeit one whose little car has to be trailed that has a bodyguard in a very Range Rover. With the throwback classicism of the songwriting and it’s almost militantly organic arrangements, 21 stood to your side from your pop mainstream, at the same time it somehow outsold everything. Adele is attempting to complete an identical trick with your ex career itself. “My career’s not my well being,” she says. “It’s my hobby.” She wants to be able to release her albums, are in public for quite a while, and return to her private existence — for some time at a time, maybe, so she’ll live enough to build the next list of songs. “I think she’ll make 20 records,” says her manager, Jonathan Dickins. “We’re playing for your long game.”

“People think I hate being famous,” Adele says. “And I don’t. I’m really terrified of computer. I think it is toxic, and I think you can actually be caught from it.” Early in her own own career, she faced frequent musical comparisons to Amy Winehouse, whom she met only a few times: “Watching Amy deteriorate is one in the reasons I’m slightly frightened. We were all very entertained by her being a mess. I was f**** sad with this, but once someone showed me a perception of her looking bad, I’d visualize it. If we hadn’t looked, then they’d have stopped taking her picture. That level of attention is in fact frightening, particularly if don’t live around everything showbiz stuff.”

Adele still feels unnatural among celebrities. Earlier this year, when she went backstage to fulfill one of her idols, Stevie Nicks, Adele found herself uncontrollably sobbing (“like, snot, everything”). “I’m unsure if I’ll ever not feel slightly overwhelmed when I visit places high are many stars,” says Adele, who spent the first decade of her life inside poor, crime-plagued district of Tottenham. “I always look like I’m gonna get trashed. Or it’s prone to turn out to be some, like, hidden-camera show. Like someone’s gonna send me to Tottenham.” She has recurring wants falling from tall buildings.