How Creatives Live In Singapore: Barber, Producer, And Musician Dzakirin Zharfan
Dzakirin Zharfan wears many hats. Here, he gets real about the art of managing multiple side gigs.
By day, 25-year-old Dzakirin Zharfan’s a creative lead and producer at an ad agency, but local creatives would probably know him variously as a barber (he has been doing it on the side for nearly a decade) and a musician (he’s in two local bands – Krunkle and Inkblot Page). Oh, and did we mention that he models too and was one of our cover faces in 2019? In this interview, Dzakirin gets real about the realities of hustle culture, finances, and his hopes for the local music scene.
Dzakirin Zharfan does many things, from barbering at the salon Grease Monkey to being a regular face in the underground music scene as guitarist, vocalist and bassist of the bands Krunkle and Inkblot Page, but the 25‑year‑old isn’t about glamorising hustle culture. Rather, he says that the various things he tries his hand at help to inform one another and provide fresh inspiration for his day job. One thing he wants to see in Singapore’s creative scene is a deeper investment in physical, community‑driven spaces – places where artistes can experiment, connect and sustain themselves without battling red tape or the fear of sudden closure.
You’re a man of many hats, Dzak! Question is, why do you do so many things?
“Ultimately, I get bored easily – and I hate being bored (laughs). Jokes aside, I feel it’s necessary to have multiple creative outlets to combat creative fatigue. It also helps me gain fresh perspectives organically across all the disciplines I practice.”
Do you see your different creative selves as separate identities or one creative ecosystem?
“Definitely one ecosystem. They all influence one another culturally and contextually, if that makes sense. For example, there’s a distinct correlation between hair and music that has shaped each decade. This sparked my love of culture and its visual impact, which helps me contextualise ideas better in advertising. It’s basically about humanising creative concepts for different audiences. Okay, that’s a bit of a yap, but it’s the shortest way to describe what’s going on in my head. Lol.”
What are some hard truths about choosing this career path?
“Honestly, it’s hard to answer without sugar‑coating because I kinda have to lie to myself just to keep going. Here, creative work tends to survive when it stays in safe, marketable territory, so a lot of what you see ends up being familiar, just recycled in new ways. And being great at your craft doesn’t guarantee you’ll make a living from it. Still, the creative community here – small as it is – does show up for its members. People share resources, pass jobs around and cheer one another on. And every so often, someone takes all those limits – the ones meant to keep things small or safe – and flips them into something bold and deeply personal; I think that’s the creativity worth holding on to.”
What’s it like being a young creative in Singapore right now?
“In Singapore, there are a lot of limitations, but growing up with so little pushes us to be inventive – and I’ve seen really cool work emerge from that. That gives me hope. I just wish there were more spaces to nurture this culture – not just to exist, but to actually thrive. People make the community; physical spaces make it accessible and sustainable. Big shout‑out to PK Records, G‑Town and Grease Monkey for giving me the room to connect and create. These days, DIY venues for smaller gigs are getting rare, with many places shutting down in recent years, and with all the red tape, it often feels like our few remaining spaces are on borrowed time. Honestly … I just wish there were more spaces.”
How have rising costs impacted the way you live and work?
“It sucks, for sure, but I’m lucky to be in a position where I enjoy what I do creatively – and it also sustains me financially – so I don’t have to cut anything out. I don’t spend much anyway. I work seven days a week and I enjoy it. I don’t think I’ve burned out – at least not yet. It might not be sustainable long‑term, but hey, creative solutions are our thing. I’ll figure it out when my back can’t take it anymore.”
How much do you earn on average per month these days?
“Not enough to be in Bali every week, but enough to pay rent and boogie every now and then.”
Dzakirin in action at the barbershop.
How much do you spend on average per month? Can you give us a rough breakdown?
“Total’s about $2,000, I think, on rent, food, transport and lifestyle investments.”
And how much do you save in a month? What are you saving for?
“It fluctuates, honestly. I save because I can’t afford to be broke.” What’s your latest indulgence and how much did it cost? “An iPad. I was too lazy to carry the weight of my laptop everywhere. It cost me around a thousand – I can’t remember exactly.”
What’s an expense you never knew you needed until you were old/adult enough?
“A washer‑dryer set. My first‑world problem is walking 15 minutes to a launderette after a long day at work – by the end, I feel completely wiped. Having the machines at home? I’d probably lose at least one wrinkle off my forehead.”
A peek into the many gigs Dzakirin has performed for.
What was your first adulting moment?
“To keep it light, it was realising that having time off for friends and family is such a luxury. Every now and then, I force myself to squeeze in time for the ones I care about. I can’t stress enough how important it is to nurture your support system.”
What’s your definition of success/thriving?
“Celebrating who I am in the process! Everyone focuses too much on the end goal and ends up hating the person they become along the way. Well, I’m talking about myself mostly, but the process is the point – that’s thriving for me.”
Anything else you’d like to share about yourself or your current projects?
“On the music front, both my bands are releasing/writing an album – Inkblot Page’s is in the mixing phase and Krunkle’s is still being written – so keep an eye out. Also, there’s an event called Super Tattoo Fun Times that I worked on last year with some friends from the Super Fun Collective. The 2025 edition of this local artist‑focused tattoo convention is set for early this November, and while I’m less involved this time round, do check it out too!”
THIS INTERVIEW HAS BEEN EDITED FOR BREVITY AND CLARITY.
This article first appeared in Volume 2 of F Zine.
TEXT & COORDINATION KENG YANG SHUEN PHOTOGRAPHY ATHIRAH ANNISSA ART DIRECTION JONATHAN CHIA HAIR EC TAN/KIZUKI+LIM MAKE UP IHARU