In this article, I explore the availability of multiple pitch centers in poprock songs that emerge from the application of what John Covach has called "positional listening." I demonstrate how different methods of listening and analysis have a drastic effect on our interpretation of a song's pitch center. Adapting Robert Bailey's term "double-tonic complex," I refer to songs that exhibit multivalent centers as "multi-centric complexes." Through several examples I demonstrate how different instruments-such as lead vocals, guitar, keyboards, or bass-can present their own, sometimes competing, centers. I use a variety of listening strategies and analytical methods in order to demonstrate and justify multiple centric interpretations that emerge when a listener compares a single instrument's projected center with others in pop-rock songs.Allowing for a "thick"interpretation of a pop-rock song's pitch center not only celebrates pop-rock's oft-cited tonal complexity, but also the overlooked complexity of the listening subject. Who is listening? How? And why?