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In interviews, the singer described it as the summation of her attitude towards her ex-lover by the end of the album's production. Even though "I'll Be Waiting" was never released as a single, it charted at No.

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It was the fifth single to be released to US mainstream stations, although it received limited airplay due to an unofficial release.

In the song, Adele wishes her former lover happiness on his new relationship and begs him to never forget her.

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The lead single " Rolling in the Deep " was released in Novemberand peaked the charts in the Netherlands, [73] Germany, [74] Belgium, [75] Italy, and Switzerland.

Adele performed "Someone like You" at the BRIT Awards ceremony, which was well received and resulted in a sales increase for both 19 and The Rick Rubin-produced fourth track "Don't You Remember," co-written by Adele and Dan Wilson, marks a shift in the album's theme, from anger and defensiveness to reflection and heartbreak.

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On 24 Januaryduring the week of the album's UK release, she performed an Hayley williams and cm punk dating set of selected songs from 21 at London's Tabernacle music hall, which was screened live on her personal website. Adele embarked on her second concert tour Adele: Bryan Boyd of The Irish Times likened the singer to s Welsh rocker Bonnie Tyler in delivering the vocals with a mixture of anger, pain and pathos.

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Released in the UK on 16 Januaryit peaked at number two. With bluesy guitar riffs and instrumental backing from the banjo and the accordionthe Rick Rubin-produced song is one of the more potent examples of the country music influences that permeate the album. The cancellation of the North American leg of the tour was due to a vocal haemorrhage on her vocal cords.

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A downtempo country music-styled ballad, [13] [15] the song was added late to the production of the album after the singer grew ashamed of her continued negative portrayal of her ex-lover throughout the album. A second sample of "Someone Like You" which features spare and understated production.

Although influenced by Adele's interest in country music at the time, 21 remains faithful to the Motown influences of 19 and exhibits both gospel and soul music inflections. Reconciling herself with the termination of a contentious relationship, she vows emotional distance to shield herself from future heartbreak.

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She also expressed her enthusiasm at simply learning a new style of music. The shows received positive reviews, many of which noted the show's understated nature, the singer's vocal performance and her accessible persona.

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For the North American release of 21 on 22 February, Columbia Records executives used the "' long tail ' sales theory" [68] to shape its marketing campaign, which, according to Columbia senior VP of marketing Scott Greer, entailed "building a critical mass throughout February in order to reach all those people who bought