The histories of walking in art are both male-dominated and visually oriented. This is most clearly expressed in the 19th century figure of the “flâneur.” Building on the history of both the flâneur and Guy Debord’s psychogeographic “dérive,” Michel de Certeau’s “Walking in the City,” published in 1980, suggests walking as a tactical act of resistance to the alienation of the modern city. While de Certeau begins his essay with a critique of visuality, or the scopic drive, he misses a crucial opportunity to move from eye to ear. In alliance with the sonic philosophy of Salomé Voegelin, this paper argues for listening as a mode that, counter to the objectifying uses to which visuality has culturally been put, offers a mode of engaging with the world that is relational, ecological, and feminist in orientation. Through a discussion of the practices of soundwalking and Deep Listening, and analysis of soundwalking projects by Suzanne Thorpe, Viv Corringham, and Amanda Gutierrez, a new story emerges about listening in public space as a tactical act.