Maher Fayez is arguably the most famous Christian televangelist in Egypt, appearing in a vibrant satellite and digital ministry online where he sings the popular genre of Coptic Christian songs, taratil. As his performances largely depend on the mediated and Auto-Tuned voice, I investigate how Fayez's use of an electronicized and cyber ministry merges both visual and auditory sensibilities to help his audiences attune to Christian and 'alternative moderni- ties. How does his use of global neo-Pentecostal pedagogies and popular music technologies contest Coptic Orthodox Church authority? More importantly, how do they negotiate various modes of Egyptian Christian-belonging follow- ing the January 25, 2011 Uprising?