In 1913 Sigmund Freud wrote that he was incapable of obtaining any pleasure from music because his mind rebelled “against being moved by a thing without knowing why I am thus affected.” Therefore, it can be argued that Freud bequeathed to us a practice that privileged words, and the necessity to transform affects into words, due, in part, to his own entrenched defenses. This paper seeks to remedy this bequest by asserting the importance of music into the psychoanalytic canon through an appreciation of composer Stephen Sondheim’s work. We argue that he is unparalleled in his capacity to immerse his audience in the conflicts, affects, and self-deceptions of the actors on the stage so as to feel into their own desires, longings and defenses. In his willingness to explore the darkest emotions without shame, Sondheim creates, what Stolorow calls, a relational home for all those who feel ashamed, anguished about who they are, or what they feel.