In the late 1960s and early 1970s, the articulation of politics and sound became explicitly marked during the civil rights transition to embryonic types of racial nationalism, black power and the novel forms of ‘citizenship’ implied therein. Music mediated and registered these critical shifts in political outlook, structural change and black collectivity. Yet, despite the power of black soundings to communicate or gesture toward a particular political sensibility, black popular music in particular remained elusive to those political workers most invested in identifying the articulations of popular sound aesthetics and the masses. Popular music, and soul culture more generally, frustrated nationalist efforts at enlisting the black masses, a failure that paradoxically reflected black nationalism’s inability to appeal to and enlist the political potential of the mass black public that it so valorised. %This article explores the political-aesthetic interface particularly as it played out in the relationship between cultural nationalism and black popular music. This relationship offers a powerful index of the correspondence and dissonance between the political intentions of nationalist political workers and the political desires of the urban masses. It is argued that both the formal attempts at producing revolutionary cultural products and the broader influence and reception that black nationalist politics had within the field of black popular culture were in significant ways less communicative of collective political will and desire than emergent popular musical formations.