Music
Don’t tell Grant Knoche’s landlord that “Superscar,” one of the earliest songs in Adéla’s discography, was produced and recorded partly in his Hollywood apartment.
The unit deserves to be classified as a historic landmark.
@grantknoche insane to witness 🤯 thx for the love on our creation ❤️🔥 @ADÉLA killed it! Written by me @Liam @Becca Krueger @adela Produced by meee :) #lollapalooza #superscar #adela #producer #songwriter ♬ original sound - GRANT KNOCHE
Knoche, the sole producer of the track, worked with Adéla, Becca Kruger and Liam Benayon, Adéla’s main songwriter on her EP, The Provocateur. The song, released in October 2024, still sits among Adéla’s top 10 tracks on Spotify.
Before its release, Adéla had yet to break through.
Knoche remembers connecting with Adéla’s dance background — something they have in common. Knoche, who was on Kidz Bop, has been dancing since the age of seven.
“We want something that you can fully move to,” Knoche recalls telling Adéla. “Something on stage that you can have choreography and dancers and really vibe out to.”
But it’s not just Adéla who should be dancing when the song plays. Getting the crowd moving was always the plan.
“There’s something to be said for a song that can make an audience and a crowd and people connect right away and move to it,” Knoche says.
He was prescient in his thinking.
Adéla’s Lollapalooza set drew tens of thousands of fans who moved, shouted and screamed along with the Slovak artist. “Superscar” was the last song on the setlist.
Did Knoche know what the song would turn into? No. He just wanted to make a strong song with his fellow collaborators.
“From start to finish, it was pretty cohesive throughout,” Knoche says. “There was never a full reproduction or reworking we did. I think from the start, when we were all in the room together, we all really caught the vibe really early and were excited about it and on board with it.”
Adéla isn’t the only artist Knoche has produced for. His credits include collaborations with artists like Christina Aguilera, TWICE and Victoria Justice.
Collaborating with a wide range of artists pushes him out of his comfort zone and challenges him to try something new, he says.
“There’s something really important about sitting back and listening and learning,” Knoche says.
Being a student of music is how Knoche advanced his own solo career.
He remembers sitting behind producers on the set of Kidz Bop, observing and asking questions. In his free time, he would watch YouTube videos on music production.
After Kidz Bop, Knoche moved to Los Angeles to further pursue music and find his sound. He knew what appealed to him sonically, but he didn’t know how to put those ideas into words.
“After these sessions with other producers where I felt like it’s not completely what I’m wanting, I would go home and start producing as much as I could,” Knoche says. He would re-create other songs to see how close he could get his version to the original.
The dedication resulted in “DIAL TONE,” Knoche’s first self-produced song, released in 2019.
Today, Knoche has two full-length albums under his belt: I COULD JUST DIE THINKING OF US and GOOD LUCK GETTING OVER ME. The latter, released in October 2025, is getting a makeover — including a remix of the popular song “FRICTION” that adds Ella Collier to the track.
There’s another project in the works, too.
“While I was writing GOOD LUCK GETTING OVER ME, at the time I had called that like the ‘red album’ — just a temporary name,” Knoche says. “During that time, I was simultaneously writing another album that was the ‘blue album.’ That's been something that I've had in my pocket for quite a while and I’ve been figuring out the right time to put that out.”
Meanwhile, somewhere in Hollywood, a landlord is sitting on a piece of music history.