Soaked in sweat and rain, my voice hoarse from singing, and my body numb with exhaustion, I came to fully understand the appeal of BaianaSystem’s epic Carnival parades. Every time the heavily political popular music fusion band leads a parade in Salvador’s Carnival season on their pirate ship float—rain or shine—one will see thousands of fans bouncing wildly in synchronized chaos. Partly based on my experience and participant observation of this parade in 2025, this paper will explore how the band carefully calculates moments for sonic and corporeal climactic unity through massive synchronization namely by playing key, unifying melodies that require audience participation during the parade’s most climactic moments. The presentation remarks how BaianaSystem builds their parade upon a desfile de paz (parade of peace) that condemns fighting, pushing, and moshing to the music—which often occurs in many other parades. Instead, the fans are encouraged to jump up without harming others, collectively uniting to manifest the musical-political resistance and release through peaceful demonstration. I argue that this resistance is reminiscent of the Black Radial Tradition initially proposed by Cedric Robinson (1983), that has recently reemerged in ethnomusicology literature (Barson 2025, Harris 2022), and that I argue appears in Salvador’s Bloco Afro movement starting in the 1970s (Case 2024, 2025). Having recently earned a Latin Grammy for their album released in early 2025, right before Carnival, the crowd was especially ready to collectively unite in synchronized chaos and Black resistance around BaianaSystem’s pirate ship.