The article analyses the trap scene in the Barriera di Milano neighbourhood (Turin), highlighting the socio-spatial aspects of a musical production that is very popular among the second generation of immigrants, but relatively little present in urban studies on contemporary Turin, partly because it is a production largely entrusted to non-professional musicians and it circulates mainly on digital streaming platforms. In this paper we aim to fill this gap, focusing on the simultaneously ‘situated’ and ‘global’ nature of a phenomenon that feeds on local marginality and exclusion, and, at the same time, on imagery and expressive codes borrowed from the international trap ‘scene’, and in particular from the ‘rap of the banlieues’. To achieve this, the analysis makes use of the conceptual tools of embeddedness theory.