Many academic publications and studies show how popular songs that are “profane” and infused with Islamic texts have popularized Sufi teachings and Islamic knowledge in Senegal, and how some bands are viewed as powerful recruitment tools in urban areas. In 2003, Senegalese superstar Youssou Ndour attempted to shoot in Touba or dar al-Islam a promotion video clip for his album Sànt Yàlla / Egypt. Although he received authorization from the Caliph, residents saw his presence in the sacred space of the mosque as an enactment of evil [music] by actors from dar al-harb. Proponents of dar al-Islam maintained that on all issues Muslims ought to return to the Quran, the Sunna, and the teachings of righteous Muslim scholars even though Islam is not addressing all the various issues and demands of its growing and diverse communities. This contribution is premised on built-up tension between the sacred and the profane, between classically oriented Sufi Islam and Muslim cosmopolitan worldviews of Islamic symbols and objects. It argues in the context of globalization that pop music’s use of Islamic repertoire produces meaning and affords value and visibility to socio-religious organizations. Using Fallou Ngom’s “ajamization of Islam” theory, the 2008 film documentary Youssou Ndour: I Bring What I Love, and observation, this contribution demonstrates conflicting views about music and singing among proponents of Sufi orthodoxy (dar al-Islam) and adherents of a more open, accepting, and tolerant Sufi Islam in secular society (dar al-harb). This study will further show that the ajamization of Islam is an endless process setting new challenges within and without Islamic organizations’ involvement as they tend to be uninterested in history. By emphasizing a presumed golden age of tariqa, members of dar al-Islam are idealizing the founders’ Sufi teachings and ignoring or demonizing in the process the balance of Islamic history.