“Amman deserves to exist in its own right… for us to have inclusion, for the government to be responsive, for there to be alternative arts and culture scenes without having to be shoved into a room where no one can see or hear us…” Challenging the often-stated claim that Amman is a “transit city,” Jude insisted that such statements don’t conceptually fit with the ongoing attempts to build projects that make Amman “more livable.” Echoing Jude’s intervention, this paper focuses on the ways that Exile* – an “experimental” sound venue and initiative in Amman – curates its space and aesthetic in relation to experiences of Amman’s fractured political-economic and social contexts; online and offline platforms; and local, regional, and international creative networks. Through the organizers’ persistence and vision – and despite governmental and societal pressures that pushed it to relocate to different sites across the municipality, and reinforced the necessity for its seeming hiddenness – Exile found a stable home in an abandoned car park in the center of Amman. Reshaped with DIY walls and industrial pillars that segment it, and treatments and lighting systems that accentuate its pulsing rhythms, this space aims to cultivate an openness that affords like-minded DJs a place to “play free,” and its regulars a place to imagine Amman’s potential. Focusing on Exile as a case study, this paper draws on in-person and digital ethnographic methods and semi-structured interviews to consider the ways that diverse elements – sonic, visual, structural, social, behavioral – cohere to produce a sense of space, “vibe” (Garcia 2020), or “atmosphere” (Riedel 2019). In conversation with recent works on alternative music genres and spaces in Egypt and the Levant (Sprengel 2020, El Zein 2020, Withers 2021), it asks: What kinds of practices and labor contribute to the production of such spaces in Amman? How do online remediations of events (Strassler 2020), the differential mobility of participants, and feelings of (non)belonging impact the perceived significance of these spaces? What “visions” and commitments are advanced and contested, here, and what does this suggest about participants’ relationship to the city? It argues that, in order to understand such spaces and initiatives, one must look not only at the aesthetic-social assemblages contained within their structures, but also their position “in between”: between online and offline; zones of the city; geographically-dispersed creative and social networks; and political-economic and social opportunities and constraints.