Sidi Ali, a small Moroccan mountain town north of Meknes, hosts an annual inundation of pilgrims, ritual performers, and popular musicians. Setting up makeshift venues in tents and basements, adepts from a variety of semi-marginalized traditions participate in ritual healing while usually inviting anyone interested in to watch, to be entertained. In this paper, I explore ways in which the pilgrims' engagement in these rituals illuminates the fluidity between spirituality and entertainment, between adepts and audiences, and how these musical practices show a much higher degree of permeability between sacred and secular, adaptability within firm traditions, and flexibility across allegedly rigid sacred boundaries. Connections between economics and aesthetics allow listeners to influence musicians' performances. I focus on interactions between these forms of spiritual entertainment, noting the variety of permeable aesthetic boundaries highlighted by consistent performer and audience behavior across genres. Ritual leaders, from the Hamadsha, Gnawa, Jilala, and others, compete for ritual work rebuilding relationships between adepts and their possessing spirits, facilitating healing. Yet, they must appease audience demands, borrowing songs, and even spirits, reshaping the aural aesthetic of what are considered firm, closed practices. Close analysis of performed musical content makes apparent many marketing strategies, bringing into focus unexpected ways in which musicians and audiences negotiate ritual concerns within modern frameworks of audience tastes and expectations. Conversely, popular groups cite ritual content in an attempt to attract audiences for informal paid concerts. "Sacred" and "secular" blur, not just in discourse, but in the shared techniques used by audiences and performers each engaging the other. Specific musical and physical behaviors demonstrate learned types of active ethical listening, allowing individuals to negotiate and demonstrate their own orientation toward these marginalized spirit possession ritual practices in Morocco. Because participants act in modes from passive audiences, actively engaged listeners, or fully possessed adepts, types of dancing or trancing, seating position, and ways of giving money starkly depict ethical views on the traditions' value to their lives. These strategies, always the subject of vociferous debate, illuminates how pilgrims and musicians in Sidi Ali reshape both religious and popular musical aesthetics. In semi-open rituals, they negotiate the ethics, efficacy, and value of these traditions as both powerful transformative experiences and entertainment via their personal active, and ethical, listening.