Against theories of cultural hybridity and disembodied flows of recorded media, this article argues for the continued relevance of the concept of regional musical scenes. It takes as examples contemporary punk as it exists in four cities and shows that there are different local accents in Washington D.C., Austin, Texas, Toronto and Mexico City. The conclusion describes some aspects of the social organisation of cultural contacts between these scenes. The article is part of a larger project of multi-site ethnography of youth subculture and resistance to globalisation.