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This chapter explores how embodied, lived heavy metal music spaces are produced by and through the exigencies of subversive movement and performance. By drawing upon Thrift’s (2007) work on ‘non-representational theory’, McCormack’s (2008) research on moving bodies, and Driver’s (2011) concept of subcultural embodiment, I examine the ways in which subversive performances and movement such as moshing are integral to the production of creating meaningful heavy metal musical spaces within the Leeds metal scene. Within these spaces fans are able to grasp, touch, play with and feel all the contours of being part of an underground subculture. Lastly, the chapter discusses the use of a ‘moshography’, a performative methodology that emphasises the ways in which movement, embodiment, gender, and spaces messily intersect and intertwine in everyday encounters within the Leeds metal scene.