Abstract This study aims to investigate the use of Chinese-English code-switching in song lyrics of Chinese-American singers and mainland Chinese singers. A qualitative survey of these songs reveal seven kinds of functions of English-Mandarin code-switching including the audacious functions, the poetic function, punning, marking proper noun, conveying humour, serving as a style marker and a "textulization cue" (Chan, 2012). Specifically, the thesis points out that code-switching as a "style marker" seems to be the most outstanding function of code-switching for the Chinese-American singers. Besides, the thesis also concludes that the code-switching helps to express the Chinese-American singers' hybrid culture and identity. Among these Chinese-American singers, Leehom Wang and David Tao tend to show more Chinese-ness, but Khalil Fong tends to identify himself as a "global citizen", which is reflected in their music, personal websites in social networking platforms and interviews with various media. Finally, the thesis suggests that globalization contributes to the use of code-switching in the music of these six units of singers (i.e. one unit is a two-man band), because they need to build an "International" or even a "global" image from inside to outside. Key words: Chinese-American singers, mainland Chinese singers, code-switching, functions of code-switching in popular music, Chinese-ness, American-ness, globalization