In 1998, the 73-year-old Iranian diva Esmat “Delkash” Baqerpur (1925-2004) gave a concert tour in America. Unable to sing publicly in Iran since the 1979 Revolution, Delkash updated her star and sound image with a nostalgic twist through her international performances. In the way that her performances were framed by a longing for an earlier time in Iran, the audio-visual version of Delkash on tour emanated an “authentic” pre-1979 female identity in sync with notions of how Iran used to be. With hand-held camcorders, audience members were able to inscribe the sounds and images of elderly Delkash for time immemorial in the sonic imaginary of the Iranian diaspora. This was not the first time that a sound technology such as the camcorder mediated Delkash and her gendered identity for audiences; in 1950s Iran, Delkash and her voice reverberated across the Iranian soundscape with the help of media technologies such as the popular sound film and radio, and she was known for her “androgynous” voice and gender-bending in the film “Top Dog” (1958). Yet during her 1998 tour, camcorders helped to construct and perpetuate a version of Delkash unhinged from the complexities of the modes of gender and sexuality she had embodied earlier in her career. Despite the insights that these iterations of Delkash can provide about gender, sound technology, and nostalgia, scholars have predominantly read Iranian entertainers such as Delkash through nationally and temporally bound frameworks. Considering Delkash beyond pre/post-Revolution and national/transnational divides, this presentation seeks to understand the trans -media, -national, and -temporal presence of Delkash in Iranian sonic imaginaries through the nexus of technology and gender. I analyze camcorder recordings of Delkash’s concerts on YouTube and interviews with Delkash during and following her tour against her personae in popular cinema before the Revolution. Drawing on film scholar Jennifer Fleeger’s concept of the “mismatched woman,” I examine the way in which Delkash’s identity as an Iranian woman was mediated and expressed through sound technologies. Bearing in mind the emergence of camcorder technology and its intersection with the politics of nostalgic longings, I argue that media technologies help contribute to “deterritorialized” and seemingly “timeless” notions of the gender-national identity of (fe)male stars. In comparing these versions of Delkash, this presentation makes larger points about the political dimensions of gendered sounds – mediated through sound technologies – as they travel from local to global contexts.