Digitalised music production and the rise of music streaming platforms shape music markets worldwide. Whereas in Western Europe and North America, the age of streaming has also been criticised for a casualisation of musical labour, in peripheral music economies like Kyrgyzstan it participates in structuring a market for music makers. At the same time, digitalisation also tends to reproduce global inequalities. Based on the case of hip-hop music production in Bishkek, Kyrgyzstan, the present working paper examines how the ‘age of streaming’ af-fects the musical production and the dreams and ambitions of music workers.