Based on the analysis of a lullaby composed by the artists María Salgado and Fran MM Cabeza de Vaca, this article examines the lullaby genre in relation to the interruption caused by the pandemic and discusses how these artists bend the genre slightly insofar as they invite their audience to discover new potential worlds rather than avoiding and soothing danger. The first part of the text develops a relationship with the artists’ recovery of the insurgent sounds found in folk songs, as places that preserve the memory of futures that never materialized: specifically, a pamphlet created by Guy Debord of fragments of folk songs, including García Lorca’s ‘Nana de Sevilla’ (‘Seville Lullaby’). By distorting this melody and the folk lyrics, the artists compose a new lullaby for an era that can no longer sleep. Their aim is not so much to dwell on this loss but to explore the strength of our sound.Lullabies are considered a minor music genre, but the hypothesis of this text is that they have a collective strength that appears when they are sung. The politics of speech have traced a categorical social division between those who speak well and those who speak badly, between those who have a right to a voice and those who remain outside the distribution of words. And yet it is precisely in the so-called ‘poor’ verbal constructions that a richer, denser and more unique meaning emerges. That is the interest behind this artistic experiment that explores the ways in which we produce and perceive the interruptions that arise in sound, music and speech as a means of understanding where imbalances occur, or may occur, where it is possible to activate another sensitive imagination.