This article examines the ways that alternative musicians in Lebanon tactically engage in corporate collaborations as a mode of aspirational cartography. Drawing on ethnographic fieldwork, it explores three artists’ entanglements with Red Bull, underscoring the imaginative, ethical, and aesthetic manoeuvres musicians undertake in pursuit of alternative futures through strategic corporate affiliation. I build on Appadurai’s theory of aspiration in order to argue that in cases like Lebanon, aspiration is a cartographic undertaking through which musicians sonically map and shape spaces of possibility. In the absence of governmental support or infrastructure for the arts, transnational corporations take on developmental roles, allowing artists to leverage personal relationships, material resources, and aesthetic and creative control in pursuit of possibility.
