Sergio Castrillón, a Colombian musician living in Stockholm, spends the film scouting places the city never built for music: parking garages, courtyards, a subway platform, a park bench circle. Director Stina Lundkvist follows him as he pitches these spots to local musicians and then films the results, cutting between rehearsal-room conversations about what it takes to survive as a working musician in Stockholm and the concerts themselves, staged wherever Castrillón has managed to get permission or forgiveness. The camera treats the city's architecture as part of the sound design, letting concrete overpasses and stone plazas change how a song reads depending on where it's played. Musicians talk plainly about rent, rehearsal space, and audiences that don't come looking for them, which grounds the film's larger claim: that a street corner can work as a venue if someone is willing to argue for it. There's no host narration pushing an argument about art and community; the film just keeps returning to people setting up amps in places built for something else entirely.