Although the case of “censorship” of Chinese hip-hop in January 2018 has led to extensive news coverage in the international press, it does not account for the multiple forms of musical censorship that exist in contemporary China. This article draws on observations from within the punk rock community to outline how censorship works in practice and which institutions are responsible for overseeing musical productions, from the release of albums to the management of concerts and festivals. This overview of censorship mechanisms in the Chinese music scene – including self-censorship required to release albums domestically – will highlight how to circumvent censorship, as well as the extent to which it is possible for artists to negotiate with the authorities.