Valerie Su, known as Singapore’s first female freestyle footballer, recently resumed busking after an eight-year break, performing solo in front of Wisma Atria along Orchard Road. At 33 years old, Su demonstrated intricate ball control techniques combining balance, rolls, and flicks, accompanied by a small sound system and a collection box for tips, including a QR code for electronic donations. Despite sporadic applause and occasional phone recordings from passersby, her hour-long performance on a Friday evening in July yielded just $7 in tips. Su explained that her busking is less about income and more about sharing a long-standing passion for freestyle football while enjoying direct engagement with the public.

Buskers across Singapore describe their performances as deeply rewarding, even as they note a persistent cultural hesitation among audiences to actively interact or stop to watch. Aqeel Sidek Tyebally, a 26-year-old university student who performs circus acts such as juggling and unicycling at East Coast Park, observes that many people prefer to keep moving and avoid attracting attention, making it challenging to build an engaged crowd. This sentiment is echoed by arts educator Audrey Wong from Lasalle College of the Arts, who points out that Singaporeans often feel uncomfortable being the focus in public spaces and are uncertain about the boundaries of permissible interaction.

The National Arts Council (NAC) allows busking in designated locations across Singapore, exempting performers from public entertainment licensing requirements. More than 500 acts are currently endorsed by NAC, with a growing number of busking spots—over 90 islandwide—including heartland neighborhoods, tourist areas like Night Safari, hawker centers, and the Central Business District. Buskers must display a Letter of Endorsement acquired through quarterly auditions to perform officially.

Traditional musician Tan Chu Yuan, a licensed guzheng player in his mid-30s, often busks near hawker centers and MRT stations in residential areas such as Chong Pang and Fengshan. Known for wearing a full suit during his performances, Tan seeks to evoke the atmosphere of a formal concert hall in public spaces. He emphasizes the respect the attire conveys toward both audience and self. Despite competing noise and distractions, Tan enjoys the connection busking offers, noting that the spontaneity of public performance allows him to gauge audience reactions directly and reach a wider range of listeners who might not attend a formal concert. His sessions typically earn around $300 in tips, supplementing his income as a guzheng instructor.

In addition to solo performers, groups like Grid—an all-male K-pop dance crew—use busking as a platform for visibility and community engagement. Members regularly perform and record covers of popular K-pop songs at venues such as Bugis Junction, sharing their work online to attract followers. The group competes in regional events and seeks to foster greater public interest through face-to-face interaction, recognizing that tips and audience engagement serve as important feedback mechanisms.

Arts researchers note an increasing interest in live street performances as a means to transform everyday urban spaces into communal cultural experiences. Digital media platforms have expanded the reach of buskers, encouraging new forms of interaction and audience bonding. Past events, such as the widespread online tributes following the death of longtime busker Oh Ow Kee, known as “Beads Uncle,” reflect the growing recognition of street performers as valued members of the community.

Despite these positive developments, street performers continue to encourage more active engagement from Singaporean audiences, who often remain reluctant to pause or interact. Many buskers stress that even brief moments of attention, smiles, or verbal encouragement can significantly affirm their efforts and help cultivate a stronger culture of public appreciation for the arts.