Informed by a soniderx methodology, I conducted participant observation and pláticas with ten womxn or queer deejays to theorize their soniderx practices. I built upon Deborah Vargas’s use of “dissonance,” an interruption or disruption to “heteronormative and cultural nationalist limits of Borderlands subjectivities and cultural histories” to characterize the work of these soniderxs. Dissonance— rather than the oft-used analytic of “resistance”—allows me to break from a dialectical opposition to oppressive systems of empire (heteronormativity, patriarchy, capitalism, etc.) and ‘aquí/allá subjectivities.’ Additionally, I employ José Esteban Muñoz’s concept of queer utopia to ground the term “vibe” as an analytic to describe the sonic futurity these deejays cultivate during their performances. Fueled by feminista empowerment and convivencia, vibe is produced by queer women of color and gender non-conforming deejays commanding turntables, creating ecstatic moments that constitute a potentiality and a horizon of possibility (Muñoz 2009). Grounded in the Afro-diasporic genres cumbia and reggaetón, the vibe generated by soniderxs signals possibility and futurity to envision a world that centers and connects non-normative identities and cultures. [ABSTRACT FROM AUTHOR]