The relationship between ideology and popular culture has largely been discussed in the context of developed industrial societies, in which the ideologies that might be considered to have most bearing on society in general and popular culture in particular are capitalism and socialism in the context of specific nationalisms. On the Muslim peripheries of Europe, however, the situation may be different. The appearance of ‘Islamic’ motifs in Turkish popular music and the ambiguous but conspicuous attempts by a populist government in Turkey to control and co-opt this music over the last eight years suggests that Islam has also played a powerful role in shaping the experience of popular music in Turkey. The extent to which Islam constitutes an ideology distinct and separable from capitalism and socialism has been debated at length within and outside the Muslim world. It is clear that Islam has proved less of an obstacle to the development of capitalist economies than that of socialist economies (Rodinson 1977; Gellner 1981). It is also true that the collapse of world markets in the 1970s resulted in crises which reverberated throughout the Muslim world, in which a pristine and ‘traditional’ Islam has become a focus, in various ways, for resentment at the cultural and economic dependency of the Muslim upon the non-Muslim world. Islam projects itself now as a rival and ultimately superior alternative to the nationalist ideologies within which capitalist or socialist formations have been articulated. In Turkey, the dominant and competing discourses of nationalist Turkism on the one hand and Islam on the other have framed the terms in which Turkish social and political history has been seen in and outside Turkey. The popular music known as arabesk apparently defies both of these ideologies and provides a useful case-study of the way in which they operate ‘on the ground’, shaping the identities and strategies around which people organise their social existence.