This paper offers a novel perspective on the materiality of fandom by exploring the relational and embodied material networks that connect people, music keepsakes, and domestic spaces. Drawing on object-oriented interviews with fans of Irish blues musician Rory Gallagher, analyzed through a multimodal ethnographic lens, it investigates the motivations behind the arrangement and display choices of keepsakes in the home and how these practices express narratives of memory and the self. Specifically, it examines how items were obtained, where they were initially placed and where they were moved following Gallagher's death, as well as how they are compiled into material assemblages. The study puts forward a typology of micro-, meso-, and macro-displays of fandom to explore these assemblages and understand the logic governing their formation. In doing so, it highlights how such practices are shaped not only by personal memories but also by ongoing relationships-with Gallagher as a felt presence, with other fans through shared meanings, and with evolving selves anchored in past experiences. Ultimately, the paper underscores the vital role of fans in co-creating and sustaining musical heritage from below, showing how material objects enable the persistence of relational selves and collective memory even as living connections fade.