This autoethnographic performance interrogates the centrality of music to queering Black masculinity. Theorizing from my lived experience, I highlight how Black girl hand games, countertenor performances in Soul music, and male vocalist performances in Gospel music intervene and provide alternative entryways to understanding Black masculinity. Three pivotal moments from the authors’ life, which span the aforementioned genres of music, are explored to elucidate the subtle and direct messages Black men and boys receive about "proper" gender performance. Through critical engagements with performance theory and Black queer theory, this performance illuminates the multiple and at times contested meanings of Black masculinity as navigated by the author within familial, educational, and religious settings. Moreover, this performance highlights the creative interventions and transgressive alternative masculinities necessary for the survival of Black queer individuals and communities as offered through music.