Nostalgia is fueling Singapore’s vinyl boom and record stores are reaping the rewards
When people think of vinyl records today, they often think of a niche hobby that is making a comeback. But Singapore’s relationship with vinyl runs much deeper.
Long before collectors browsed crates in neighborhood record stores, Singapore was one of Southeast Asia’s biggest record production hubs. By 1970, at least four large pressing plants were operating here, producing up to a million records a month before changing technology and changing consumer habits pushed the industry into decline.
But today, vinyl is back—not as a powerhouse, but as a thriving culture.
Worldwide, sales have grown for 19 consecutive years, surpassing $1 billion in the United States alone. And in Singapore, a new generation of collectors, independent record stores, and inquisitive consumers are rediscovering what streaming can’t offer: the experience of owning music.
Singapore’s vinyl revival
Singapore’s vinyl scene shows a broad resurgence across Asia-Pacific, where the market is estimated to be worth US $518 million by 2024.
But while the numbers tell one story, the revival is perhaps best seen on the ground.
Spend a weekend afternoon in Haji Lane or Joo Chiat, browsing a flea market, or wandering through one of the country’s independent shops, and you’ll find people happily rummaging through crates of vinyl, admiring album artwork, and chatting with fellow collectors.
Singapore has quietly become, as Selected Records founder Tremon Lim puts it, “one of the best stops for vinyl hunting.”
We speak to Tremon, 42, who founded the business in 2014, and Warren Choo, 31, who started Cherry Lane Records on Carousell before opening a brick-and-mortar store in Joo Chiat in 2024, about how Singapore’s vinyl scene evolved—and why records continue to be heard in these streaming years.
More people, more shops, more noise
Tremon left a six-year career in publishing to pursue his dream of opening a record store, launching Chosen Records in the small town of Tiong Bahru in 2014 before moving to its current premises on North Bridge Road in 2021. Today, the two-story store holds more than 2,000 records.
Warren’s approach to vinyl sales was slow. He started by selling records from his collection before setting up stalls at the Katong Flea Market. After falling in love with Joo Chiat’s “creative and warm” atmosphere, he opened Cherry Lane Records there in 2024.
Despite their different journeys, both owners have seen the same change: more people are coming through their doors than ever before.
For Tremon, a big sign of vinyl’s resurgence is how records have moved beyond specialty stores. Cafes, electronics retailers and musical instrument stores are now stocked with vinyl, either as decorative items or for sale. He also believes that nostalgia plays a role, as more people seek material things in an increasingly digital world.
Warren, meanwhile, is watching a new generation discover old music through pop culture.
“Queen or Michael Jackson become entry points for young listeners who may not have grown up with this music,” he said. “And young collectors are not only buying old pressings from the ’70s to the ’90s, but many are interested in new releases by current artists.”
That crossover between modern pop culture and vintage collecting is something they both recognize.
Cherry Lane specializes in the release of Southeast Asian heritage, jazz and classic rock, although it also carries a selection of new releases. Warren acknowledges that the recent boom in vinyl sales—driven in part by artists like Taylor Swift—has also benefited independent stores.
A person buys their first record because of a current artist, then starts digging in, and ends up spending hours in a store like ours.
Warren Choo, founder of Cherry Lane
Tremon agrees. Having spent more than a decade in the business, he has watched vinyl evolve from what was once a hobby into what he calls a “mature scene,” with excitement today that surpasses even the resurgence of the 2000s.
Singapore has become a destination for collectors from overseas.
“Singapore is one of the tourist stops for vinyl hunting,” he said. The city’s mix of local pressings, Southeast Asian records, and well-curated vintage stock made it worth a detour for passing collectors.
But why buy a record when everything is on Spotify?
On paper, the economics of vinyl can be hard to pin down.
A new record usually starts at around S$38 in Singapore, with limited editions costing more. Add an entry-level turntable—starting at around S$110—and it’s easy to argue that Spotify’s S$12 monthly subscription offers the best value, giving listeners access to millions of songs at their fingertips.
But for many collectors, it’s not a choice between vinyl and streaming. Instead, they both hugged.
Tremon notes that many vinyl collectors still subscribe to the streaming service. Streaming is where they discover new music and listen to it on the go, but vinyl is what they buy after deciding that an album deserves a permanent place on their shelf.
Streaming offers convenience. Vinyl offers an experience.
For Warren, the experience begins long before the music begins. Playing a record requires selecting an album, taking it out of its sleeve, placing it on the turntable and lowering the needle. That practice encourages listeners to slow down and give the album their full attention in a way that streaming rarely does.
He believes part of the appeal is also the joy of discovery.
When a record goes out the door, there’s no guarantee you’ll ever see that copy again. Part of the appeal is that each record sounds like something you’ve actually discovered. It’s not just a file or a link. It has a history.
Warren Choo, founder of Cherry Lane
There is also the question of ownership.
Warren recalled a friend telling him that having a vinyl record felt permanent in a way that streaming never could. Digital libraries may change as licensing agreements expire or platforms change, but the record on your shelf is always yours.
For many collectors, especially those who buy new releases, the appeal goes beyond the music itself. Colored and transparent vinyl, limited editions and special pressings by artists have turned records into collectibles like listening formats.
Tremon noted that many of these releases are produced in limited quantities, making them highly sought after by collectors. For some buyers, the artwork, packaging and rarity are as much a part of the experience as the album itself.
“The Endless Niche”
Both owners see vinyl as part of a broader wave of nostalgia that has also revived interest in film cameras, mechanical watches and printed books.
Warren believes that what these hobbies have in common is that they want to share. “You can’t do anything with a record like you can with a digital playlist.”
He believes that sense of purpose is increasingly valuable in a world designed for speed and luxury.
Far from being a passing trend, both owners believe that vinyl has found its place in the modern music scene.
Tremon, in particular, argues that vinyl is no longer experiencing a renaissance but has grown into a permanent fixture. “Unless another music format comes along that’s more fun than playing and collecting vinyl,” he points out.
History tells us over and over again that vinyl is obsolete—when LaserDisc arrived, when CDs took over and when streaming seemed to remove the last reason for having physical music. Yet it has survived all the technological changes.
“There really has to be something special about it that people just agree on collectively, and implicitly,” Tremon said.
Meanwhile, in many homes and shops, the needle is dripping, and the music is playing.
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Featured Image Credit: Cherry Lane Records/ Selected Records
