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This article explores how in Morocco, music is used to construct and subvert discourses on a ‘moderate’ vs. a ‘radical’ Islam. I focus on experiences and practices of vocal performers of Islam-inspired music, who operate in two different musical domains: state sponsored stages for Sufi music, and non-state-sponsored stages for anashid– acapella Islamic songs, generally associated with more orthodox interpretations of Islam. Based on extensive ethnographic fieldwork among these artists, I analyze how the Moroccan response to the War on Terror, and concomitant perceptions of ‘radical’ versus ‘moderate’ Islam, affect the ways in which they present themselves and their music. I propose the notion of ‘dissonance’ to demonstrate how the artists’ musical practices, as well as their narratives of performance, ethics, and emotions converge with, yet simultaneously also rub against state discourses on a ‘moderate’ vs. a ‘radical’ Islam.