In this presentation, I employ an anti-colonial theoretical framework (Dei, 2006; Hess, 2021; Sánchez-Gatt et al., 2025) to critically explore how popular music education can function as a transformative site of (un)learning regarding colonialism, truth and reconciliation, resistance, resilience, and Indigenous sovereignty. Embracing a stance of critical reflexivity, I begin by reflecting on my positionality within the context of this anti-colonial work (Sibbald et al., 2025). I do so by recognizing how, as a white settler male on Turtle Island, I represent the archetypal guitarist and popular music educator (Bayton, 1997; Bylica & Wright, 2019) and therefore have a responsibility to work toward decolonizing and Indigenizing popular music education (Stark, 2023; Truth and Reconciliation Commission of Canada, 2015).I then practically outline how I embrace anti-colonialism within various popular music education contexts to foster students’ critical consciousness and capacity for transformative action. Specifically, I discuss how engaging with popular music by Indigenous artists such as The Halluci Nation, Jayli Wolf, OMBIIGIZI, and the Snotty Nose Rez Kids regarding topics related to (de)colonization assists students in coming to know both the ongoing legacy of settler colonialism as well as the ways in which Indigenous communities embody resistance and resilience. Rooted in culturally responsive and sustaining pedagogies (Alim & Paris, 2017; McKoy & Lind, 2023), these practical strategies attend to both the cognitive and affective nature of music education as/for social justice (Levy & Byrd, 2011; Wright, 2013).Finally, framed through a critical analysis of the contemporary landscape of colonial relations of power in the field of popular music education, I highlight the tensions of enacting this anti-colonial work. In particular, I examine Western ethnocentrism and popular music education as an inherently colonial project (Abramo, 2011; Björck, 2011; Hess, 2019; Smith & Moir, 2022; Vaugeois, 2013) as well as the (im)possibilities of enacting anti-colonialism within colonial educational institutions (Simpson, 2014; Tuck & Gaztambide-Fernández, 2013). Ultimately, the purpose of this presentation is to inform and inspire music educators and music teacher educators to engage in curricular content and pedagogical practices that work to dismantle settler colonialism by being accountable to Indigenous futurity.