Maasai vocal music has no instruments. The men sing in overlapping call-and-response during warrior initiation ceremonies. The women sing differently, in higher registers, during their own gatherings. This music was never meant for outsiders. Then in the 1980s, ethnomusicologists started recording it, and by the 1990s, Maasai choirs were performing in Europe. Ayub Ogada brought elements of it to global audiences. The question now is whether music this rooted in ceremony can survive the concert stage without losing what made it matter.