Attuning to feminism with sound as a trans-historical listening practice, this chapter considers the intersections of feminism(s) and sound through echo, making the case for the phenomenon of echoic sound as feminist method alongside considering Echo, the Greek mythological character whose reappearances through literature confer upon her a cumulative agency, evidenced in her sonic invention/intervention. The writing charts a reading of Echo as complicating any idea of a coherent female identity, and then considers echo’s legacy through two recent examples of sonic art works: Bouchra Ouizguen’s Corbeaux and Sonya Boyce’s Devotional Series, both of which insistently demand to take up space through sounding out multiple times, and multiple women in and through history. Rather than constructing identities of the artist and/or audience, the chapter attends to these works’ formation of collectives in and of those who witness, organised following Jennifer Nash in her writing on black feminist love politics, ‘around the vibrancy and complexity of difference.’