Preparing contemporary commercial music (CCM) singers for success and career longevity requires specialised training methods. These methods were once inextricably linked to the study of classical voice, but vocational and repertoire requirements have led to a necessary divergence in pedagogy and practice. While singers of both styles must learn to coordinate the tenets of breath, phonation, resonance and articulation, the way they are refined is unavoidably distinctive. However, current thinking suggests that after singers have developed the nuanced skill sets required of their primary singing style, they can also benefit from learning from each other (Wilson, 2019). Cross-training is a philosophy that aligns with this belief, involving the short term adoption of training techniques that contrast one's primary discipline. Such training aims to strengthen opposing skill sets that facilitate versatility in one's primary singing style (Spivey & Saunders-Barton, 2018; Willis-Lynam, 2015). To date, there have been no empirical research reports on the effectiveness of such a cross-training regime in relation to professional contemporary singers. In addressing this gap in the literature, my doctoral study catalogues the experiences of a group (N=6) of professional CCM singers who engaged in a cross-training protocol where principles of Western classical training were utilised. Results from analysed data sets demonstrated a positive correlation between participants' engagement in the protocol and changes to their voice production habits. Findings were associated with modifications to the singers' physical and vocal tract coordination, respiratory system coordination, and enhanced functional capacity. This small participant study instigates a discussion regarding cross-training applications for CCM singers. Further, it offers contextual reports on the multifarious effects experienced by the participants, providing insights for future research.