This essay examines the consequences of technology for how music reaches people and for how people reach music. It is argued that new media technologies, particularly the Internet, create new territorializations of space and of affect. The spatial distribution of music wrought by new technologies provides an opportunity for cultural studies to bring distribution to the centre of the study of media. By so doing we can better understand cultural processes as not only industrial ones but ones of geography, audience and fan, and thereby de-centre production and consumption as the sites of cultural critique.