This paper represents an early attempt at pulling together ethnographic data collected during a year of fieldwork on digital music production and distribution in Nairobi, Kenya. An early version was presented at “Popular Expression in the ‘Silicon Savannah’: Perspectives on the Digitisation of Art and Life in Kenya,” Goethe InstitutK Nairobi, Kenya, July 10, 2012. Though it contains a bit of academic jargon, I have attempted to write for a general audience, as this is meant in part for my interlocutors in the Kenyan recording industry.