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SINGING INAPPROPRIATE SONGS in the NYC SUBWAY (SINGING IN PUBLIC)

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A guy in headphones turns an NYC subway car into his own personal karaoke stage — and the commuters have nowhere to hide.

QPark, the prankster and former Wall Street analyst who built a following filming himself belting out pop hits in public, takes his loudest bit yet underground. In “SINGING INAPPROPRIATE SONGS in the NYC SUBWAY (SINGING IN PUBLIC),” a five-minute-and-36-second clip posted to his YouTube channel, he straps on headphones, cranks the volume in his own head, and screams explicit lyrics at strangers packed into subway cars and platforms. The joke isn’t the singing — it’s the trapped, deadpan, occasionally delighted faces of the people who can’t get off the train.

• QPark, a Yale graduate and ex-investment banker who first built an audience on Vine, filmed the video underground and on platforms across the NYC subway system.
• The setlist leans hard into NSFW territory: Cardi B’s “Bodak Yellow,” Sisqó’s “Thong Song,” Khia’s “My Neck, My Back (Lick It),” plus cuts from Nicki Minaj and Chris Brown.
• The video runs 5:36 and became one of the anchor entries in QPark’s “Singing in Public” series, a format that has driven millions of views to his channel.

From Vine to the Subway Car

QPark’s path to filming strangers on the 4 train wasn’t a typical influencer origin story. He graduated from Yale, worked as an investment banker, and built an early audience on Vine before pivoting to full-time content creation once that app folded. That resume shows up in the execution of his pranks — they’re staged with the timing and repetition of someone who treats the bit like a job, not a one-off stunt.

The “Singing in Public” format he’s known for strips the concept down to one idea: pretend you’re alone with your headphones on, and sing anyway, in front of people who very much are not pretending. The NYC subway is the ideal set for it. Riders are confined, can’t easily leave a moving train, and are conditioned by city life to avoid eye contact — which only raises the stakes when a stranger starts screaming Khia lyrics three feet from their face.

The Setlist Doing the Work

The song selection is deliberate. Cardi B’s “Bodak Yellow” and Nicki Minaj tracks bring braggadocio and profanity; Sisqó’s “Thong Song” and Khia’s “My Neck, My Back (Lick It)” bring outright sexual content; Chris Brown rounds out the mix. None of it is music a rider expects to hear performed a cappella and at full volume inches from their seat on a crowded car.

Screaming “My Neck, My Back” at a stranger on a moving subway car isn’t singing — it’s a dare, and the whole video is watching people decide whether to laugh or transfer cars.

That contrast — explicit, commercially massive hits versus the sealed, polite silence of a subway commute — is the entire engine of the video. It’s the same trick that fuels a lot of viral candid-reaction content, the kind where the real payoff is the unscripted human response, not the setup itself, in the same vein as clips collected in videos of things caught on camera that people still don’t believe.

Reactions as the Real Punchline

QPark’s camera stays locked on the commuters as much as on himself. Some passengers laugh immediately, some stare in stone-faced disbelief, and others turn away entirely rather than engage — the full spectrum of “please let this be over” body language that makes public-prank content watchable. It’s the same appeal that’s carried other stunt-driven bits, like the reaction shots baked into a remote-controlled prank staged purely for people’s genuine, unscripted panic.

Unlike prank formats built on fear or deception, QPark isn’t hiding anything from his targets — they can see exactly what’s happening, headphones and all. The discomfort comes purely from proximity and volume, not trickery, which is part of why the format has scaled into a recurring series rather than a single viral fluke.

Reasons for Entry Success

Among QPark’s catalog of public-singing videos, the subway edition holds up as one of the more replayed entries because the setting does half the comedic lifting. A sidewalk or a park gives people room to walk away; a subway car gives commuters exactly one option — wait it out until the next stop.

QPark has kept the “Singing in Public” format running well beyond this one outing, and the subway setting remains his most reliable stage — mostly because, short of pulling the emergency brake, nobody on that train is getting away from Sisqó anytime soon.