The courtroom is an acoustic and spatial environment where law is enacted through regulated listening. As ethnomusicologists increasingly encounter legal institutions as expert witnesses and as scholar-activists, the courtroom demands clearer theorization as a critical listening space within the discipline. Drawing on Season 3 of Surviving R. Kelly (2023), which features federal court proceedings of sexual abuse by the R&B artist, this paper analyzes how architectural design, courtroom protocol, and surrounding courthouse soundscapes shape what can be heard, withheld, or (mis)understood in legal settings. Microphones, sound systems, white noise generators, architectural materials, and ambient disturbances shape the courthouse as a layered soundscape. Media coverage constitutes a parallel soundscape that recontextualizes courtroom speech as legal narratives circulate in real time. Testimonies delivered under oath are excerpted, replayed, and reframed, while press conferences outside the courthouse transform legal argument into performative statements designed for broadcast. The courtroom thus becomes a site where voice, emotion, and institutional power converge, and where testimony functions as both narrative and performance shaped by acoustic conditions and psychological expectations. Drawing on Gelbwasser’s discussion of courtroom noise and privileged communication (2001) and Blesser and Salter’s theory of aural architecture (2007), this paper argues that courtroom acoustics structure access to information, condition credibility, and influence how justice is experienced by witnesses, legal actors, and listening publics. By theorizing juridical listening through mediated soundscapes and aural architecture, this intervention expands ethnomusicological approaches to power by locating law as an underexamined but increasingly consequential site of listening, governance, and public meaning.