Central to Bourdieu’s argument in Distinction is that the taste of the dominant class is refined and exclusive. Numerous subsequent studies have explored whether contemporary societies exhibit ‘new’ patterns of distinction. Building on this line of inquiry, I examine the interconnected practices of sorting, evaluating, and boundary drawing with a particular focus on musical taste. Moreover, I employ this framework to distinguish three modes of distinction: exclusiveness, tolerance, and excess. My argument is empirically grounded in qualitative research on boundary crossing and musical taste.