
'All you need is a phone and your voice': Adoo's TikTok rise is just the beginning
Adoo, whose real name is Choi Sory, always dreamed of becoming a singer.
But her path to success has been anything but easy. Now in her late 30s, Adoo is finally gaining recognition — not through music programs or major entertainment companies, but through TikTok.
"Ever since I was a child, I loved singing," she said during an interview with The Korea Herald on July 21. "But I wasn't the most confident person."
From idol setbacks to viral resurgence
Her first experience in the music industry came by chance. She was asked to help as a guide vocalist for a hip-hop track, and the song ended up being recorded and released with her voice. This was back in 2014, when she featured on "The Sun Never Rises" by the group Holla Dang.
A year later, she debuted as a member of a girl group called Baby Boo. The group made appearances on TV music shows, but faced hardships and disbanded after just six months.
"I didn't get paid and the experience left me disappointed," she recalled.
Still, Adoo couldn't give up on singing. She shifted to trot music under the stage name Sarangi and performed at local events. But the COVID-19 pandemic shut down live stages, leaving her feeling stuck.
"I realized there was no way for me to actively do anything."
That's when she turned to TikTok.
Building a career one livestream at a time
Adoo uploaded her first video in 2019. Unlike Instagram or Facebook, TikTok felt free and anonymous.
"I failed several times, so I was very conscious of how people around me saw me. But TikTok gave me a chance to show my true self without worrying about others' opinions."
Her first viral moment came in 2022 with a dance challenge video shot in Haeundae in Busan. Her followers grew quickly, and she began to understand how the platform works.
"The more I posted, the more confident I felt. I met people who supported me for who I am. It gave me hope," she said.
TikTok also taught her life skills. Without any previous work experience, Adoo said she learned about human relationships through her followers.
"I gained courage from people who cheered for me without expecting anything in return," she added.
This motivation led her to participate in TikTok's music contest "Gimme The Mic" in 2024, where global users compete by performing songs on live broadcasts. Her strong performance in local music events such as TikTok's 'DIA Karaoke' earned her a spot in the main global competition.
Despite little support and no company backing, she pushed through rounds of voting and gifting, eventually finishing third out of 150,000 contestants.
"I was the only Korean finalist," she said. "I never thought I could make it to the Top 3. But when one contestant dropped out, I decided to invest in myself for the first time."
With her rising fame, she released a song titled "Kiss Like This" as part of her winning prize. Though the production schedule was tight, the music video gained over 1.2 million views. She also released other tracks such as "Gravity" and "Hello, Goodbye," each one holding deep personal meaning.
Reclaiming identity, rewriting destiny
Adoo is now more active than ever.
She broadcasts five to six hours daily, often turning on the camera while doing makeup, picking outfits or simply chatting with fans. Her audience spans across Southeast Asia and the Middle East, with fans from Japan, Vietnam and the Philippines supporting her.
Through TikTok, she transformed herself from a passive dreamer into an active creator. "Before TikTok, I thought I needed a company or a fanbase to succeed. Now, I know passion and effort are enough."
Looking ahead, Adoo wants to chart on Billboard.
"That's been my dream since I was young," she said. She is currently working on two songs, one titled "I Do."
She hopes her story will inspire others.
"There are so many people who want to become singers but don't know where to start. I want to be proof that you can make it, even without a company or connections," the singer said.
Adoo believes TikTok can be a powerful tool for any creator. "You don't need fancy equipment — just a phone and your voice."
"People didn't believe me when I said I wanted to reach Billboard," she said with a smile. "But now, they do."
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Korea Herald
7 hours ago
- Korea Herald
LA designates Aug. 1 'KCON Day'
World's largest K-pop festival recognized for cultural, social and economic contributions Los Angeles has officially designated Aug. 1 as 'KCON Day,' honoring the world's largest K-pop fan and artist festival for its impact on the city's culture and economy, the event host CJ ENM said Sunday. This marks the first time in KCON's 14-year history that it has received formal recognition from the city government. Four LA City Council members — John Lee, Katy Yaroslavsky, Curren Price and Heather Hutt — co-sponsored the resolution, citing the event's decadelong impact on LA's culture, landscape, tourism and economy. First launched in Irvine, California, in 2012, KCON has grown into the largest global gathering of K-pop fans and artists. With over 100,000 fans participating annually, it has played a pioneering role in promoting Korean culture globally. Lee praised the festival's influence, stating that KCON has "played a central role in promoting global pop culture" and "provides LA residents and visitors a special chance to experience Korean music, food, fashion and technology fully," according to CJ ENM. CJ ENM said the recognition highlights the growing influence of Korean culture, lifestyle and brand influence — driven especially by K-pop — in the world's largest music market. "The Korean American community and Korean culture are at the heart of what makes Los Angeles one of the most creative, influential and dynamic cities in the world," said Yaroslavsky, who represents western Koreatown. Last year's KCON LA, which was broadcast live on The CW Network, boasted 5.9 million fans between the festival and digital streaming. This year, the event was streamed live via the Amazon Music channel on Prime Video and Twitch.


Korea Herald
2 days ago
- Korea Herald
Is K-pop's global strategy backfiring? As popularity up abroad, domestic interest wanes
Absence of breakout rookie girl groups and weakening domestic fandom raise concerns for K-pop's future at home Despite chart-topping hits on Billboard and sold-out world tours across the US, Europe and Southeast Asia, K-pop's grip on its home turf appears to be slipping. Industry experts are sounding the alarm over a growing disconnect between the genre's global success and its dwindling influence at home — particularly as the domestic fanbase, once the engine of the K-pop phenomenon, shows signs of fatigue. At the heart of the issue is a conspicuous absence of breakthrough rookie girl groups in the first half of 2025. These groups have historically driven fandom growth and revitalized the market, but this year's lineup failed to deliver the same impact. Data released in the Circle Chart's 2025 Mid-Year Report backs this up. Total digital music consumption for the top 400 songs fell by 6.4 percent year-on-year and compared to the genre's 2019 peak, it has plunged by a staggering 49.7 percent. Meanwhile, physical album sales — a metric typically bolstered by passionate fans — also dropped by 9 percent, totaling 42.4 million units, down from 46.7 million the year before. The number of albums surpassing 1 million units in sales fell from nine to seven, and not a single release managed to exceed 3 million — a feat achieved by Seventeen just a year ago. These numbers suggest stagnation, or even a decline, in the size and spending power of domestic fandoms. Kim Jin-woo, a data journalist at Circle Chart, noted a sharp drop in girl group dominance in the domestic market. 'In the first half of 2024, NewJeans held the top spot in market share and five girl groups were in the top 10. This year, only aespa, Ive and NewJeans made the cut,' Kim said. Kim also cited growing listener fatigue stemming from similar-sounding concepts and English-heavy lyrics aimed at overseas audiences — part of a broader 'de-K-pop' strategy that may be alienating local fans. 'Many groups now focus on global accessibility, often gravitating toward a narrow range of genres and English lyrics,' Kim said. 'This might attract international listeners but has started to exhaust interest at home.' Music critic Lim Hee-yun also pointed out that shifting media consumption habits have weakened the dominance of idol groups. 'With music increasingly consumed through self-produced content, fan platforms and social media, fandoms are less concentrated,' he said. 'Idols used to dominate the charts thanks to mass fan activity, but that's no longer the case. In contrast, solo artists are resonating more with casual listeners.' The Top 10 of the 2025 mid-year digital chart paints a telling picture: Solo acts like Woodz with 'Drowning' at No. 1, Hwang Garam with 'I Am a Firefly' at No. 3 and Jo Jazz with 'Don't You Know' at No. 7 — none of whom enjoy major global recognition — significantly outperformed their idol group counterparts. Seven of the Top 10 artists were solo performers, leaving aespa, Ive and Boynextdoor as the only groups in the Top 10. Lim added that while idol tracks are 'fun and powerful,' they often lack emotional depth. 'Ballads or rock-inflected songs with strong melodic structure and individual expression are better suited for immersive listening,' he said. Industry officials warn that this trend raises serious questions about the sustainability of K-pop's current trajectory. A sluggish domestic market could eventually undermine the health of the entire ecosystem. 'As K-pop pursued global mainstream appeal, the music took on a more (Western) pop-oriented flavor — but unless you're on the level of BTS' Jungkook, that strategy rarely pays off,' an entertainment official said. 'Even with its global expansion, K-pop remains confined to a subculture category rather than breaking into the true global mainstream.' jaaykim@


Korea Herald
2 days ago
- Korea Herald
'Baby Shark' Pinkfong eyes management buyout alongside IPO: reports
The Pinkfong Company, creator of the global children's sensation "Baby Shark," is reportedly pursuing a management buyout in parallel with its planned market debut, according to industry sources on Friday. In May, the company filed for a preliminary review to list on the Kosdaq, marking a renewed push for an initial public offering six years after it first floated the idea in 2019. Multiple industry reports suggest that Pinkfong is in talks with potential buyers regarding a management sale. According to Maeil Business Newspaper, the deal may involve major shareholder stakes, with a potential price tag in the hundreds of billions of won. Major shareholders include CEO Kim Min-seok with an 18.44 percent stake, Editorial Samsung with 16.77 percent and telecom giant KT holding 9.1 percent. Editorial Samsung is Pinkfong's parent company, and Kim is the son of Editorial Samsung CEO Kim Jin-yong. Founded in 2010 as an entertainment subsidiary producing animations, songs and films, Pinkfong shot to global fame in 2016 with its breakout hit "Baby Shark." The song and its accompanying video became a viral sensation among children worldwide, with "Baby Shark Dance" holding the title of YouTube's most-viewed video at over 16 billion views to date. The company was once valued at over 1 trillion won ($714 million) during its Series B funding round in 2021, reportedly becoming the first Korean content firm to achieve unicorn status. However, its valuation is believed to have declined in recent years amid weakening performance. Annual revenue dropped from 117 billion won in 2022 to 94.6 billion won in 2023, with operating profit swinging from 3.7 billion won to a 3.2 billion won loss. Earnings recovered in 2024, with revenue rising to 97.3 billion won and operating profit rebounding to 18.8 billion won. Pinkfong recently opened its fifth overseas subsidiary in Japan and is expanding its global footprint while growing its YouTube consulting and intellectual property businesses. The company's flagship YouTube channel has racked up 51.3 billion cumulative views and boasts 82.6 million subscribers. Its content is now available in 25 languages across 244 countries.