Music, in different forms, has historically supported far-right movements. Today, however, as a result of digitalization and fragmentation, there are a wide variety of music styles which are both engaged with and used among far-right movements. This article argues that ideas around masculinism are central to music’s appeal in the international, contemporary, English-speaking far-right in a way that spans aesthetic differences. Using extensive user comments from far-right web forums and video-streaming comments under far-right artists, it argues that both the materiality of the sounding aspects and discourses about the music work to shape interpretations of ‘musical masculinism’. The article first explores how ‘feminized’ music is actively discouraged in contemporary far-right spaces. It moves on to examine music’s reception as it links to masculinism as both a consequence of the sounding properties of the music and ideological judgements about it, with a focus on metal and ‘fashwave’ genres. Finally, it explores how masculinist principles even permeate the positive reception of classical music through appeals to harmony as natural order. Through this, it argues that, despite disparate genre preferences, masculinism is an implicitly core tenet which runs through positive and negative evaluations across a range of different musical styles.