By the time the first note rings out across a stadium, most eyes are fixed on the performers. Few think about the invisible architecture of sound that makes every lyric land, every beat hit, and every moment resonate. Fewer still picture the young woman stationed behind the scenes, headset on, eyes scanning levels, ready to solve problems before anyone even notices them. For Nur Afifah, that quiet, high-pressure space is exactly where she belongs.
Her journey into live audio didn’t begin with grand ambitions of working on music and sound production for national shows. Like many students at LASALLE College of the Arts, Afifah was drawn in by a love for music and a curiosity about how it all came together. “I’ve always been interested in music and wanted to be a producer,” she shares. Back then, the studio felt like the natural destination, a controlled environment where sound could be shaped with precision.
But everything changed with her first taste of live production.
Afifah’s introduction to the live events world came through freelance work on a large-scale K-pop concert, featuring, coincidentally, her favourite boyband. What could have been a dream assignment quickly turned into a test of nerves.
“I was so worried I didn’t have enough knowledge to keep up,” she recalls. The scale alone was overwhelming: sprawling audio systems, complex signal flows, and a pace far removed from the controlled setups she had known in school. “I had a hard time visualising how everything connected.”
Instead of shrinking back, she leaned in. Under the guidance of experienced crew members, she took on foundational tasks: running cables across the stage, positioning speakers, supporting wherever needed. It was physically demanding, technically complex, and mentally exhausting. But somewhere between the chaos and the camaraderie, something clicked.
“It’s been four years, and I barely remember the actual work,” she says with a laugh. “But I remember the feeling… being part of something that brought joy to so many people.”
That moment marked a turning point. The studio no longer held the same appeal. Live production, with all its unpredictability, became the challenge she wanted to chase.
Freelancing became Afifah’s training ground. Without the luxury of being involved in early planning stages, she had to develop a sharp instinct for reading technical documents, adapting quickly, and solving problems on the fly.
“Equipment faults and shortages are very common,” she explains. “But we still have to meet deadlines. You learn to think fast and find solutions quickly so the show can go on.”
That adaptability proved crucial as she began specialising in one of the most intricate areas of live audio: radio frequency (RF) systems. Handling wireless microphones and in-ear monitors might sound straightforward, but in large productions, it becomes a high-stakes balancing act involving dozens of devices operating simultaneously without interference.
Afifah didn’t set out to specialise in RF… it found her. What began as assisting with microphone and in-ear monitor testing evolved into a deeper understanding of wireless systems, guided by mentors who recognised her potential. Over time, she moved from shadowing experienced technicians to working with a team handling sound production together.
“I realised I enjoyed the organisation and attention to detail,” she says. “Some shows can have up to 30 in-ear packs and microphones. You need a proper system to make sure everything runs smoothly.”
Her growing expertise brought her to some of Singapore’s biggest stages, from concerts at the Singapore Indoor Stadium to large-scale productions at the National Stadium. Each venue came with its own set of challenges — humidity, distance, sheer physical strain.
“The Indoor Stadium gets very humid… you’re constantly sweating,” she says. “But the National Stadium is so big that just walking from one end to the other becomes exhausting.”
Yet, it was her role as Head of RF for the National Day Parade 2024 that truly put her skills to the test. Responsible for setting up and managing all wireless audio systems, Afifah had to coordinate frequencies, lead her team, liaise with multiple departments, and ensure every performer stepped on stage fully equipped.
During the show, she positioned herself strategically at the grandstand, monitoring signal stability while staying close enough to respond instantly if anything went wrong.
What goes through her mind in those moments?
“Relief,” she admits. “But I always tell myself, ‘It’s not over until it’s over.’”
To the audience, a flawless show feels effortless. Behind the scenes, it’s anything but.
Afifah describes her role during a live performance as a constant state of vigilance, from monitoring RF levels and ensuring in-ear systems function properly to staying in communication with both local teams and international tour crews. Preparation is key, but unpredictability is inevitable.
At the Singapore Grand Prix, for instance, a sudden downpour during a performance by the Black Eyed Peas turned a routine show into a scramble for damage control. Equipment was getting soaked, microphones had to be swapped mid-performance, and even the roof above the amplifiers began leaking.
“It was chaos,” she says. “But we just had to keep going.”
Moments like these define live production — not perfection, but the ability to recover seamlessly.
In 2025, Afifah took the next step in her career by joining the Music & Drama Company, a move that expanded both her technical range and creative scope.
Unlike the concert-focused work she had been doing, MDC productions span a wide spectrum, from conferences and dinner programmes to theatrical performances. The diversity has pushed her to rethink how audio is applied in different contexts.
“Every show is different,” she says. “It forces me to adapt and approach audio in new ways.”
Perhaps the most significant milestone in this chapter has been the added scope where Afifah expanded from technical setup to live show operations. Now, she’s not just building the system; she’s running it, mixing audio in real time during performances.
“I’m now able to operate the console and mix for shows,” she shares. “That’s something I really wanted to grow into.”
As a woman in a male-dominated field, Afifah’s journey hasn’t been without its challenges. Early on, the environment could feel intimidating, but she found support among her peers, especially other women navigating the same space.
“There were times when we were underestimated,” she says. “But that just motivated me to do better.”
She’s also candid about the realities of sexism in the industry, from offhand comments about her appearance to being overlooked in favour of male colleagues, even when she was the one in charge. Yet, she refuses to let those moments define her.
“Overall, the experience isn’t bad,” she reflects. “But there will be some infuriating days.”
Her advice to young women considering a similar path is simple, but resolute: “If this is your passion, go for it. Don’t be afraid to be loud and unapologetically yourself.”
For Afifah, the proudest moments aren’t always the biggest shows, but the ones that mark personal growth. One such milestone was operating audio for the National Day Observance Ceremony 2025, her first major show in MDC.
“It was technically challenging,” she says. “There were moments I felt really disappointed in myself during rehearsals.”
But when the actual performance came, everything clicked. With the support of her team, she delivered a seamless show, an achievement that reaffirmed her capabilities.
“I felt so accomplished,” she says.
It’s that sense of progression that keeps her going, even through long hours and demanding setups. And, of course, the audience.
“Seeing the crowd cheering and singing along makes me proud,” she says. “Especially if I’m the one mixing the show.”
As she looks to the future, Afifah’s focus is clear: honing her craft as a live audio operator and pushing her creative boundaries.
“I want to be more confident in my mixing,” she says. “And more creative in how I approach sound.”
In an industry where recognition often goes to those in the spotlight, Afifah is part of a new generation redefining what it means to work behind the scenes. Her journey is one of resilience, growth, and quiet determination — a reminder that every unforgettable performance is built on the dedication of those you rarely see.
And somewhere, just beyond the lights, she’s listening, making sure everything sounds exactly as it should.
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