Browse 2,707 wedding singers and vocalists available for hire worldwide. These professional performers have collected 5,933 reviews from real clients, with an average rating of 5 out of 5. Prices start from $110, with an average of $330, covering everything from solo acoustic vocalists to high-energy performers with full backing tracks.
Wedding vocalists listed here cover a wide range of styles and setups. Some specialize in gentle acoustic sets for ceremonies, while others focus on lively chart hits and soul classics for receptions and evening parties. Many can perform across multiple parts of your day, from the processional through to the last dance.
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A live wedding singer brings something recorded playlists cannot: the ability to read a room, respond to the mood, and tailor every song to the moment. Professional wedding vocalists perform at ceremonies, drinks receptions, dinners and evening parties, adapting their repertoire and energy level as the day unfolds. The best performers make the transition between each part of the celebration feel natural, whether that means a quiet acoustic rendition during the vows or a full-voice performance of crowd favorites on the dance floor.
Most wedding singers maintain setlists spanning several decades and genres, from jazz standards and soul classics to modern chart hits. Some accompany themselves on guitar or keyboard, while others perform with backing tracks or as part of a duo. A common option is to pair a vocalist with a singing guitarist setup for an acoustic ceremony set, then switch to fuller backing for the evening. Many vocalists will learn a specific song for your first dance or processional given enough notice, typically four to six weeks. Equipment-wise, professional performers usually bring their own microphone and PA system, though larger venues may require additional sound reinforcement. If you are also considering a wedding DJ for later in the evening, ask whether the singer can use the DJ's PA to keep setup simple.
Wedding vocalists work well at almost every stage of the day. During the ceremony, a solo vocal performance adds emotional weight to the processional, signing of the register or unity ritual. At a drinks reception, a singer provides a relaxed backdrop that fills the space without competing with conversation. For the wedding breakfast, ambient vocal jazz or acoustic pop keeps the atmosphere warm. Evening sets are where many singers shift gear, delivering dance-floor energy with soul, Motown or pop covers. Some couples book different acts for different parts of the day, combining a wedding ceremony musician with a wedding band or singer for the reception. Others prefer a single vocalist who can adapt their style across the full celebration, which often works out more cost-effective.
Rates for professional wedding vocalists typically fall between $110 and $1,150+, with $330 representing the average across all listed performers. The main factors that affect pricing are performance duration, the number of sets, whether the singer provides their own sound equipment, and travel distance to the venue. Solo vocalists with backing tracks tend to sit at the lower end of the range, while singing pianists or singers who bring a live accompanist often charge more. Package deals covering both a ceremony set and evening entertainment are common and usually offer better value than booking two separate acts.
The average price is $330 (USD), with most priced from $110 to $1,150+. Contact the supplier you like for an accurate quote.
Based on 8,355 enquiries for Wedding Singers at events in every location, made through this site in the last two years. Updated 8 November 2026.
Sara Longo, jazz singer, jazz band.
"I call Sara Longo as soon as I can. She has all an artistic director desires:
- a very various repertoire she embodies perfectly: french songs, jazz, bossanova, italian songs.... I like to chose themes for my concerts and Sara always has a great idea she bring to stage with enthusiasm.
- a unique stage presence!
- a unique voice!"
Sonalisa Mishra Productions
"We had the absolute pleasure of being a part of birthday event and had Sonalisa and Steve perform for this event.
They were just fantastic and their beautiful voices created such a fun and lovely atmosphere for everyone. Their song selection for the event was perfect and we throughly enjoyed the evening.
Highly recommend them to anyone looking for talented professional performers. They’ll make an event memorable"
PennySweet
"Christine sang a requested song for my wedding ceremony . I had asked her after seeing her contribute samples on social media.
It was heartfelt and added personal touches that reflected our story.
At short notice she also contributed to our day 2 event in a local oub and added great value to our special occassion.
We wanted something to add a variety to a strong trad flavour we had from a strong musical family.
Highly recommend Christine for an easy going , personap touch especially if your someone that likes to request sprcific song choices in a acoustic style with female vocals.
Deirde Harty , Cahir , Tipperary"
Material Madonna
"Hayley was fantastic! Everyone loved her performance of Madonna. She has a great voice and is. a true professional."
Tenorè, The Italian Three Tenors
"I had the pleasure of seeing the three tenors, Tenorè, perform at the Belcanto Festival in Mrągowo, Poland, last summer, and it was absolutely fantastic! The music from the Italian repertoire was beautiful, and their voices were truly impressive — powerful, rich, and full of emotion. You could really hear that they are genuine opera singers. I had no idea they also performed at private events. Highly recommended for anyone looking for a truly memorable musical experience!"
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"
