The state of Sarawak is no exception to the Hadrah’s performance which has indeed been received in North Peninsular Malaysia such as in Perlis, Kedah, Perak and Penang. Hadrah performance is a form of public entertainment that is still widely welcomed. The performances are still being presented at weddings as well as in other occasions. Therefore, this study aims to analyse the implicit meaning behind the performance of Hadrah through the ethnography communication approach of S.P.E.A.K.I.N.G (for setting and scene, participants, ends, acts sequence, key, instrumentalities, norms, & genre) by Hymes (1972) as well as to exhibit other cultural elements that permeate in the performances of the state in Sarawak such as involve elements of metapragmatic, language and community as well as metaphors and languages that should not run in a performance. The data collection was carried out through two methods: library research and field research. The study found out that the performance of the Hadrah is not only a feature to entertain guests but rather implicitly because the selection of songs in the performance complements the aspects of advice and irony that should guide listeners especially newly married couples.