Browse 1,398 cover bands available for hire in Singapore, rated 5 out of 5 across 2,573 reviews from real clients. These acts play recognisable songs across decades and genres, from a duo at a drinks reception to a full band with brass for an evening party, and most bookings come in around $1,300.
Setlists lean on what fills a floor: chart hits, classic rock, soul and Motown, with most bands happy to shape the running order around the meal, speeches and the evening party.
Of the 1,398 suppliers listed here, 12 are based in Singapore. The other 1,386 are willing to travel there.
Based outside Singapore, nearest first
Tell us about your event and we'll suggest suppliers, or talk to our team.
Acoustic Bands in Singapore
Acoustic Duos in Singapore
Alternative Bands in Singapore
Blues Bands in Singapore
Classic Rock Bands in Singapore
Easy Listening Bands in Singapore
Indie Bands in Singapore
Oldies Bands in Singapore
Party Bands in Singapore
Pop Bands in Singapore
Rock 'n' Roll Bands in Singapore
Rock Bands in SingaporeMost of what decides whether a booking runs smoothly is settled before the band arrives, and it depends on the room. Venues in Singapore range from function suites with a house PA and a fixed curfew to marquees and outdoor terraces where everything has to be carried in, and the same five-piece behaves quite differently in each.
A four or five-piece needs roughly 4 by 3 metres of flat, dry floor, more once a drum riser or a brass section is involved, plus two or three power sockets within reach of the stage area. Check the load-in route early, because stairs, a long carry from the car park, or a lift too small for a bass cabinet all add time, and some acts charge for it. Ask about a sound limiter before you commit to anything: a limiter set low will cut the power mid-song, and there is no way around it once you are there. Curfews work the same way, since an 11pm finish moves the whole running order earlier than most people expect.
Saturdays in peak season and the whole of December go first, often a year out, so the band you want can end up fixing your date rather than the other way round. Distance shows up on a quote as travel, and occasionally as accommodation when the finish time makes the drive home impractical. Friday and Sunday bookings widen the field considerably if the date is flexible. Ask what the travel figure covers, since some acts price it into the fee within a set radius and charge separately beyond it.
Most bookings in Singapore come in around $1,300 for two live sets, with duos and trios below that and larger lineups with brass or extra vocalists above it. What varies more than the headline figure is what sits inside it. Check what the quote covers: travel, a DJ set or playlist between sets, and how long the band plays in total rather than how many sets they perform. Most acts take a deposit to hold the date with the balance due close to the event, and overtime is normally charged in half-hour blocks, so agree the finish time in writing rather than on the night.
The average price is $1,300 (SGD), with most priced from $250 to $4,500+. Contact the supplier you like for an accurate quote.
Based on 25 enquiries for Cover Bands at events in Singapore, made through this site in the last two years. Updated 5 November 2026.
Los Cucurrus
"We want to book you again for our end of the year office party"
Bel Greco
"Interview with Christiana Theofanous for Kalithea Press, in cooperation with Kalithea Radio and Galaxias FM 92.1 Fokida
1. Mr Yannis Apostolidis, for many years you lived and worked professionally in England. What led you to choose life abroad, and how did this long journey shape your life and your artistic path?
My decision to leave for England in 1995 came from my need to develop musically and to discover new horizons. I had already gained significant experience in Greece. From September 1989, when I settled in the country, I began working as a bassist in music venues, while at the same time searching for different ways to express myself artistically.
In 1994 and 1995 I took part as lead singer in a musical theatre production at Mylos Club in Thessaloniki. In 1994, I also recorded an album with English lyrics, with a rock band, at the Papazoglou studio.
When my work with Mylos Club ended, I felt that I had to take the next step. I wanted to test my abilities in a different environment, to come into contact with other musical cultures and to broaden my possibilities.
So, in 1995, I left for London, where I lived until 2002. Those years were a decisive chapter of my life. I worked as a singer, played saxophone and flute, and got to know a multicultural musical environment at first hand.
My path was not always easy, but it taught me to persevere, to adapt and not to rest on my laurels. I believe that an artist must remain in constant search. Music is not a road you learn once and then it is finished; it is a continuous process of discovery.
2. We know that you also passed through the world of street music, where you managed to create a complete musical sound, essentially building a whole music band by yourself, with the help of the right equipment. At the same time, you perform songs in many languages. How did this experience begin, and what did direct contact with the public teach you?
Street music was a wish I had had for many years. When I lived in London, I was not given the opportunity to try it, since from the very first moment I worked as a singer in bars and restaurants. At the same time, I played saxophone and flute and took part in jam sessions in the pubs of my neighbourhood, where I had the chance to develop through live music and collaboration with other musicians.
In the end, I fulfilled this wish two summers ago, here in Chalkidiki. It was a special experience for me, because I managed to try something I had been thinking about for years.
With the help of the right equipment, I can create a complete musical sound, giving the impression of a whole band while I am alone. This requires technical knowledge, preparation and constant concentration.
Street music, however, has another dimension. You come into direct contact with people who may not know you at all. There is not necessarily the presentation of an organised stage or the expectation of a particular show. People stop, listen and react spontaneously.
What interests me most is communication. By performing songs in different languages, I can reach people with different cultural references. Music has this magical quality: even when we do not understand all the words, we can feel the emotion.
3. England is a country with a multicultural environment and diverse musical influences. What was your experience there as a Greek singer? What difficulties did you encounter, and what opportunities were given to you to develop artistically?
London was a great school for me. From the very first moment I worked as a singer in bars and restaurants, while at the same time playing saxophone and flute. I often took part in jam sessions in the pubs of my neighbourhood, where I came into contact with musicians of different influences and developed both my vocal abilities and my skills as an instrumentalist.
My everyday life, however, had a difficult side. In the mornings I worked part-time in a sandwich shop in the City of London. I washed food containers and prepared sandwiches, while in the evenings the stage awaited me. It was a reality that demanded hard work and discipline.
In 1998 I started postgraduate studies in music teaching at Middlesex University. Unfortunately, I did not manage to complete them, as my professional commitments forced me to work in the evenings. It is something I still think about with regret, but at the time I had to meet the needs of my life and my work.
That same year I took part as a flautist on the album Kingsize by Boo Radleys, playing flute on two songs. My name, Yannis Apostolidis, is printed on the album cover. It was an important experience for me, and I wished for this collaboration to continue.
England taught me that talent is important, but that it is not enough on its own. It requires perseverance, consistency, professionalism and the willingness to make the most of every opportunity. Above all, I learned not to give up on music, even when the circumstances of life demand great personal sacrifices.
4. During your time abroad, you also found yourself in Saint Petersburg, where you performed concerts and professional collaborations. Would you like to share with us a little of the atmosphere of those performances? How did the audience welcome you, and what do you keep from this experience that stands out?
Saint Petersburg is an important chapter of my musical journey. From 2007 to 2010 I travelled there during the winter season together with my friend and collaborator, the keyboardist Giorgos Apazidis, performing concerts and professional collaborations.
It was a different experience from that of England, as we came into contact with another cultural environment and with people who had different musical references. For a musician, such experiences are valuable, because they make you remain open, observe and adapt.
What I keep from that period is the value of collaboration and of live musical communication. When you go on stage, it is not enough to perform a song correctly. You need to create a connection with the audience and convey the emotion of the interpretation.
Music gave me the opportunity to work in different countries and to meet people I might never otherwise have met. This ability to communicate beyond borders is one of the things I value most in my artistic path.
5. When a Greek artist performs far from their homeland, music often takes on a special emotional character. Did you notice this at your concerts abroad? How does the audience's relationship with Greek song express itself, especially when they are far from Greece?
I believe that Greek song carries a special emotional weight. For Greeks who live far from their homeland, a familiar melody can awaken memories, recall family moments and bring them mentally closer to their place.
Music works like a bridge between the present and our memories. It can remind us of people, places and moments that have left their mark on our lives.
At the same time, I believe that the power of song is not limited by language. A person who does not speak Greek can be moved by an interpretation, feel the melody and grasp the emotion conveyed by the singer.
As a musician, this is something that interests me particularly. I want to be able to communicate with different people and use my voice to convey emotions that are common to all of us.
Greek song has a rich tradition, intense melodic quality and a particular expressive power. I believe it deserves to travel even further, while preserving its authenticity and its identity.
6. Apart from live performances, your artistic path includes collaborations, professional contacts and many different activities. Which do you consider the most important moments of your journey in England and Saint Petersburg? Were there people or collaborations that substantially influenced your path?
If I had to single out certain milestones, I would first mention my experience in London, where I had the opportunity to develop as a singer and instrumentalist through daily work and my participation in musical gatherings.
The album Kingsize by Boo Radleys holds a special place, where I played flute on two songs in 1998. The fact that my name, Yannis Apostolidis, is printed on the cover is a specific and important memory from that period.
Another milestone was 2002, shortly before I returned to Greece, when I created my personal album Vacant Alleyways. It includes six of my own songs, produced by me. I had the feeling that a major cycle of my life was closing, and I wanted to leave behind a work that expressed me personally.
After my return, I worked for about ten years with my friend and keyboardist Giorgos Apazidis, with whom we worked in hotels in Chalkidiki. The pace was demanding, as we worked seven days a week. At the same time, we travelled together to Saint Petersburg during the winters of the 2007–2010 period.
Every collaboration has its own value. When you share the stage with other musicians, you learn to listen, to collaborate and to respect each person's different approach. These experiences are just as important as personal achievements, because they shape you both as an artist and as a person.
7. After so many years abroad, do you believe that the way an artist perceives music, the audience and themselves changes? What did this long experience teach you?
Undoubtedly, life in different countries affects the way you see music and the world. When you come into contact with different cultures, sounds and people, you understand that there are many paths to express yourself artistically.
My own path included different roles. I started as a bassist, took up singing, played saxophone and flute, took part in groups and collaborations, and created my own songs. Each experience offered me something different.
I also learned that music requires continuous work. Knowledge or talent alone is not enough. You need to remain active, try new ideas and accept that there is always something more to learn.
As a person, life abroad made me rely more on my own strengths and face difficulties with greater composure. At the same time, it helped me understand how important the balance is between professional ambitions and our personal responsibilities.
Today, as a music teacher at the Child Creative Occupation Centre in Nea Moudania, I see music from a different side: as a means of education, creativity and personal development.
I believe that an artist truly evolves when they do not stop learning, but also when they find ways to pass on what they have gained through their path.
8. Life far from the homeland has its beautiful moments, but also difficulties that are not always visible to others. How did you experience this distance? Were there moments when you missed Greece particularly, or when you felt that music helped you keep your connection with it alive?
Life abroad has many sides. On the one hand, it gives you the opportunity to meet new people, to work in different environments and to discover possibilities that"
Diboa Bossa Nova
"Diboa made our wedding day truly special!
We can't recommend Diboa enough. They drove all the way to San Vicente de la Barquera to play at our wedding, which was so kind of them and something we really appreciated.
Their music was beautiful and full of atmosphere, exactly what we had hoped for. One of our favourite moments was our first dance, which they played especially for us: it started with a slow, romantic song and then switched to a more upbeat one, so all our guests joined us on the dance floor. It was such a joyful moment that we'll never forget.
Communication was clear and easy from start to finish, and they always responded quickly, which made planning stress-free.
We were so happy with them and would recommend Diboa to anyone looking for live music for their big day. They really make the day extra special and give it a warm, wonderful atmosphere. Thank you so much!"
Acoustic Coverband Gold Collective
"Amazing live music for our client event in Utrecht NL."
The Queen Bees
"The Queen Bees were a fantastic addition to our event. Their performance was elegant, stylish and perfectly suited to the occasion. The musicians were extremely professional, with a lovely stage presence and beautiful musical arrangements. They added a very special touch to the evening and were appreciated by all our guests."
Degradé
"Very nice Job at Phillips Aniversary! Súper vibe, perfect choice of songs, even though we were from many diferent countries.
We danced and sang all the performance."