Background While live performing and performing in the recording studio have been acknowledged as very different performing environments, little has been written about the influence one has on the other. The recording producer says the recording session should be a liberating performing environment for the classical musician, with room for experimentation and risk-taking. However, orchestral musicians perceive the recording experience as a negative experience, contrasting sharply with their positivity for the live performing environment. For Canadian pianist, Glen Gould, the recording studio became his preferred performing medium requiring a separate aesthetic. Other performers touch on the interface between the two performing environments including learning to listen critically to one’s playing, the different physical performing persona required and acknowledging how weaknesses which might pass unnoticed in live performance, are exposed in the studio. This empirical practice-led paper investigates what is learnt from the two performing environments during a program of art songs, and how each enhances the performance perception of the other. Aims This project aims to document the two-way learning which takes place between the live and recording studio performing environments for one program of contemporary art song. The project also attempts to categorize this learning which enhances and informs each performing environment. Method The two researchers, a singer (tenor) and pianist/composer, reflected on and documented their experiences performing a program of 12 contemporary art songs (19 songs) adopting a practice-led research method. The program was performed live three times, recorded in a studio for commercial CD release, and then performed live again three times in the concert environment to different audiences. This led the researcher/performers to reflect on what was being enhanced in their understanding and performing of the song program. Results Key findings related to issues of balance and vocal effort after performing in separate recording booths; maintaining a steady pulse after recording with a metronome; bringing together more convincingly the ‘jigsaw’ components of a song with several changing textures; compositionally lengthening an instrumental interlude; becoming aware of different interval pitching strategies in the two environments; deepening awareness of arpeggiated textures forming a web of sound and, in another song, of Japanese koto resonances; heightening awareness of jazz harmonies for a melody; and emphasizing expressive vocal gestures rather than relying on visual/physical gestures. Conclusions This research noted that the recording studio performing environment, in particular, raised the performers’ level of performance perception which enhanced their live performing.