Concert review: Mysterious J-pop star Ado anchors sold-out Singapore show with stunning voice

Straits Times

22-05-2025

The mysterious J-pop singer Ado performed while obscured in a box onstage for her sold-out show at the Singapore Indoor Stadium, on May 21. PHOTO: TOMOKAZU TAZAWA/VANISHOCK
Ado World Tour 2025 Hibana
Singapore Indoor Stadium
May 21
A girl in a box, with a stunning voice.
That is, in essence, the short version of what went down at J-pop singer Ado's first concert in Singapore.
The long version is that the mysterious 22-year-old star's sold-out gig at the Singapore Indoor Stadium on May 21 was one of the most unique shows this reviewer has seen.
Aside from her age and gender, little is known about Ado.
Despite being one of the biggest Japanese music artistes of the moment - she is the first female soloist to play Japan's National Stadium with two sold-out shows in 2024 that saw over 140,000 attendees - she has never revealed her face.
Only her silhouette is seen when she performs live, while obscured within a translucent cube.
It was also how she appeared at her Singapore show, which was sponsored by anime-centric streamer Crunchyroll.
And while she may be physically constricted, her voice knows no bounds.
Ado kicked off the two-hour show with her debut number Usseewa (2020), an angst-ridden teenage rant against what is deemed to be 'proper' adult behaviour and 'social mores', which served as a jaw-dropping display of her vocals.
While she is a J-pop idol, her style of singing more closely resembles heavy metal rockers, and she punctuated Usseewa with explosive shrieks and angry screams.
Her vocals were excellent throughout - working as an instrument and performer on its own merit. She switched between whispers and clean high notes effortlessly and with control, taking only a few brief breaks between songs. Her voice conveyed the emotions of her repertoire well too, desperate and crazed on songs like Aishite Aishite Aishite (2023), and rousing and anthemic on the banger Rockstar (2025).
She also covered the hit song Chandelier (2014), no doubt a way of paying respect to Australian singer-songwriter Sia, who was also known for obscuring her face.
And although only an outline of her could be seen, Ado was a very active performer, flipping her high ponytail around, dancing and belting her heart out.
Props must also be given to the set design. With its star literally trapped in a cage, the show relied heavily on its lighting, which framed the stage, and digital screen visuals to create immersive scenes for the audience.
The National Stadium next door might have played host to a dance party that was the third night of American pop star Lady Gaga's Mayhem concerts, but Ado brought a rave to her equally adoring fans.
With laser beams and rotating lights, her show alternated between what felt like immersive video game scenes and psychedelic dreamscapes. It was disorienting - in a good way.
Towards the finale, Ado lamented that she had yet to see the Merlion or swim in the infinity pool atop Marina Bay Sands, drawing some laughs from the crowd.
She then launched into an earnest speech about how glad she was to stand onstage in front of overseas audiences, when she used to be just a little girl singing so loudly in her closet that she annoyed her mother.
Her final song was one of her most famous hits and an anime favourite. New Genesis is the theme song for the anime movie One Piece Film: Red (2022), and the first Japanese song to top the Global 100 playlist on Apple Music.
Ado has come a long way since singing alone in her room, proving that her powerful hard rock and metal-inspired vocal stylings can win over legions of young pop music fans.
While she may not be to everyone's tastes, one cannot deny the impressive voice, technique and stage presence she possesses.
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