Hiding in plain sight in Yogyakarta, a city in Muslim-majority Indonesia, the top floor of a clothing store has hosted a twice weekly drag performance called Raminten Cabaret Show since 2014. The shows often begin with performances of traditional Javanese dance and then feature drag acts ranging from American pop stars like Beyoncé and Nicki Minaj to Indonesian popular artists like Dewi Perssik and Inul Daratista, complete with acrobatics and pyrotechnics. Sexual and gender minorities in Indonesia are currently threatened by a criminal code which was passed in 2022. Despite these social and legal threats, Indonesia has a long history of tolerance and recognition of plural gender expressions and this remains evident in sold-out performances at the Raminten Cabaret Show. Audiences are primarily Indonesian and typically range in age from 20-60 although attendees sometimes bring their children to the event. This presentation focuses on the practice of lip-syncing, commonplace in drag but unique in this context in that the performers use live recordings instead of studio recordings for their performances. By providing an ethnographic case study, I extend Philip Auslander’s challenge to the binary between the live and the mediatized by examining how drag queens perform using prerecorded music from live events.