This paper examines female Islamic singing in the Balkans through a comparative perspective linking Southeast Europe with Central Asia. If Islam is transmitted not only through doctrine but also through sound—recitation, lamentation, devotional poetry, melodic formulae—then women’s vocal practices become important sites of religious continuity and lived knowledge.Based on ethnographic fieldwork in Bosnia-Herzegovina and comparative research in Uzbekistan, I explore devotional genres such as ilahije, na‘t, nesheed, salavat, mevlud and Hudoyi recitations, and zikr-related repertoires as gendered sound worlds of faith. In both regions, women’s singing often takes place in semi-private, domestic, yet socially meaningful settings. These performances cultivate what Mahmood (2005) calls pious agency—forms of ethical self-making shaped through devotional practice. Following Sugarman’s (1997) insight that singing produces subjectivity rather than simply expressing it, I argue that female devotional performance actively shapes religious identity. Through vocal timbre, maqam-based melodic patterns, poetic language, and performance context, women articulate moral commitment and communal resilience.The comparison highlights shared Islamic sound principles—clear delivery of sacred text, melismatic expression, modal organisation—alongside different historical experiences. In Central Asia, women’s Islamic singing adapted to Soviet secularism; in the Balkans, it responded to war, displacement, and post-socialist revival.Placing Balkan devotional singing within a broader Islamic acoustic tradition (Asad 1993; Hirschkind 2006), this paper argues that women’s voices function as forms of sonic authority through which piety, resilience, and religious meaning are sustained across Asia and Europe.