This paper affords a central place to musical experience in our psychoanalytic understanding of identification. Attending to the “oceanic feeling” as it appeared in Freud’s writing, as well as the oceanic writing of the journalist William Finnegan and musical works by John Luther Adams and Frank Ocean, a rich and vital function of identification is presented and developed. This identification is not a reaction to differentiation or loss, but rather is generated through experiences of sameness and animated through the homo-erotics of being like one another (as distinguished from problems with identification, resulting in narcissism). The implications of a reclaimed concept of identification for how and what we attend to in listening and living musically is elaborated.