For sound artist Dylan Robinson, decolonising listening involves listening otherwise, that is, becoming aware of how normative listening habits and abilities are guided by our listening positionality. This positionality is shaped by perceptual habit, ability, and bias. In his book, Hungry Listening (2020), Robinson demonstrates how the dominant Western (Settler) approach to listening is extractive in nature; it desires certitude and feeds on the satisfaction that comes from being able to identify, recognise, and catalogue with some semblance of certainty to whom and/or to what we are listening. He calls this “hungry listening”, which is also a “listening for”: markedly devoid of any relationality. In contrast, “listening otherwise” is always a listening-with. It is a process of listening that is committed to receiving “otherness” and it intentionally engages with the unfamiliar, strange, and not already understood. Listening otherwise thereby requires a suspension of our belief in the certainty of knowing what listening actually is. This paper explores the process of decolonising listening through the phenomenon of the staged Radio Play. Written to be performed theatrically on stage as an imaginary radio drama, the live radio play mimics the format of a classic radio drama, complete with sound effects (Foley) produced in real-time in front of an audience, to create a show that combines the auditory experience of radio with the visual aspects of a theatrical performance. Focusing on Stage Foley as Sonic Fiction, I explore the process of making strange or unlearning listening as it relates to this artistic genre and provide some modest offerings as to how this might move us from hungry listening to listening otherwise in an attempt to decolonise listening.