This paper examines how Buddhist electronic music in Taiwan has become a site for reworking Buddhist modernism. Focusing on the Awakening Music Festival, a Buddhist electronic music festival in Taiwan, I argue that the event does more than reframe “tradition” for the present. Instead, it stages new relations between chanting, electronic sound, and collective listening. From ethnographic research, I analyze how the festival creates a shared sonic space in which religious and secular participants engage the performances through different modes of attention and embodiment. Drawing on Charles Hirschkind’s approach to moral listening and Tara Rodgers’ account of synthesis, I suggest that these contemporary music practices can be part of how devotional experience is produced. By placing Buddhist sonorities within festival infrastructure, club aesthetics, and translocal networks, the paper argues that Buddhist contemporary music in Taiwan offers a useful lens for understanding Buddhist modernism as an emergent and experimental formation.