Throughout its modern history, Syria's airwaves have been shaped by a mixture of state-controlled domestic broadcasts, private regional stations (mostly coming from Lebanon), and the public diplomacy/propaganda broadcasts of foreign states (BBC Arabic, VOA/Radio Sawa, or Egypt's Sawt al-'Arab) and non-state organizations (Hezbollah's Idha'at an-N?r, or the PFLP-GC's Idha'at al-Quds from within Syria.) In 2005, the first private radio stations began broadcasting inside Syria, competing with Lebanese commercial stations and adding another layer to the country's domestic radioscape. As Syria has descended into civil war, the political positioning of these stations has been reflected in their musical content. While Syrian state radio attempts to maintain a weakening "state monopoly on culture" (Boëx, Wedeen), private and foreign stations broadcast their political affiliations through musical playlists as well as news content. Even as radio mainstays like Fairuz maintain a ubiquitous presence on the airwaves, both old and new musical signifiers of nation, identity, religion, and resistance are used by local and international broadcasters to shape Syria's political landscape. Outlining a taxonomy of radio music genres, this paper describe the music and musical discourse that comprises the Syrian radioscape, and some of the ways in which this radioscape has shifted during the civil war. This analysis is based on hundreds of hours of Syrian radio recorded in Damascus in 2010, and subsequently from across the border in Lebanon and via internet radio between 2011-2013, as well as print media and personal interviews with broadcasters.