Led by percussionist Maxime Echardour, the Confiné project came into being in spring 2020, during the first lockdown in France. It is a collaborative musical project, which owes its existence to dual feelings of unease. It’s both a sense of time stretching due to boredom and of social relations fragmenting due to distancing. In this article, we propose to examine how the lockdown may have determined certain properties of this project, and how, in turn, the project may provide solutions to the problems that lockdown poses. It turns out that in its conception as in its realization, the project repeatedly plays with both the strangeness of the situation and the familiar references that it tries to set against it to compensate. On this game depends the possibility of restoring a certain pleasure. But one wonders what significance this pleasure can have, in view of some of the project’s properties and the very specific modalities of its distribution.