In many Orthodox Jewish (“frum”) communities, women do not sing in front of men, shielding men from women’s singing voices for religious modesty. This practice has often been framed as a “silencing of women’s voices” and a form of patriarchal oppression (Lubet 2011; Koskoff 2014; Borts 2021). However, by focusing on the absence of women’s singing voices in male dominated-spaces, researchers and outside observers effectively re-enact the silencing of these women by failing to notice the actual singing voices of frum women. Rather than focusing on what frum women aren’t doing or where they cannot be heard, it is more productive to investigate what they are doing with their voices and why. Not only do frum women sing, but they have unique and vibrant singing practices and spaces that exist separately from men’s or mixed-gender singing spaces. Using the approaches of scholars who investigate the formation of gendered religious subjectivity (Mahmood 2005) and the construction of conceptions of “the voice” (Weidman 2014; Sundar 2023) as well as interviews and participant observation in New York, I argue that implicit assumptions about singing, agency, and frum women obscure the ways that singing is used in these communities, namely as a tool for collective connection and to consciously form a religious and communal subjectivity. This critical examination of understandings of “the frum voice” has implications for wider musical research that involves religious or non-Western communities which may have misalignments between emic and etic understandings of singing and its purposes.