Queer subcultures have seen various degrees of resurgence post pandemic. The furry community has had to grapple with a sudden surge in convention attendance, caused in part by rising popular musicians identifying as furry artists. Issues surrounding growing attendance numbers, seen recently at Bewhiskered and Anthrocon, go beyond financial. Organizers for these recent furry conventions have outright banned the existence of “room parties”, a practice that has historically included do-it-yourself music performances to showcase independent Furry artists, pointing to concerns of safety, optics, and noise. The relationships between hierarchies of sound ecology are cross-examined with hierarchies of queer coalition building. Fieldwork and archival footage lead to listening to furry convention sound ecology as a site for coalition building through points of collision with history, space, the intrapersonal, and the institutions of music. History’s collision is addressed through comparative sound analysis of archival recordings of furry convention spaces in the 80s and 90s with field recordings at Bewhiskered 2026 and Anthrocon 2026, highlighting how changes in community structure dictate sound ecology, which in turn dictate one’s intrapersonal relation to identities. Convention organizers thus reinforce institutions of music through their committal to top-down structures, causing fissure with previously established networks of DIY events by enacting officially organized concerts and raves at conventions. Tracing how larger discourses of queer optics actualize themselves as sonic objects and absences lead to a problematization of queer hierarchical community structures and their power to shape space as a field for identity building and queer coalition.