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This article examines French colonial and early Tunisian nationalist initiatives concerning public music listening practices in 1930s Protectorate Tunisia. Drawing on historical documents from the colonial archive, period travel logs, and Tunisian authors, I offer a history of  café  listening in Tunis focused on audition of  ma’lūf , Tunisian Arab- Andalusī  music. Specifically, I analyse a 1935 government-issued mandate directing  café  owners across the country to play pre-approved recordings of  ma’lūf  for their clientele. I consider this mandate alongside a co-occurrent policy of the nascent Rashidiyya organisation that prohibited live performance of  ma’lūf  in  cafés . While these approaches appear contradictory – one encouraging  ma’lūf  listening and the other discouraging it – I demonstrate that French and elite Tunisian actors in fact sought similar goals: rescuing traditional music from neglect and debasement. I explore the way these policies reflected pre-existing ideological tensions among Tunisians around the respectability of music listening in public – especially with regard to class and gender – and how acts of colonial control sought to ‘settle’  ma’lūf  listening, challenging Tunisian ‘sensate sovereignty’ (Robinson [2020].  Hungry Listening, Resonant Theory for Indigenous Studies . Minneapolis: University of Minnesota Press) and shaping emerging politics of multisensory and embodied listening. This account aims to situate  ma’lūf  listening within its dense sensory, cultural, and historical contexts, taking into account the social-sonic  milieu  of the  café,  colonial anxieties around public radio listening, and the use of music broadcasting to combat threats to colonial control. Finally, I identify examples of present-day approaches to ‘unsettling’ Tunisian listening and reclamation of multisensory musical experience from my ethnographic research.

Settled and unsettled listening: café culture, colonialism, and multisensory politics in Tunisian- Andalusī music