Within the growing body of literature focused on the cultural space surrounding punk music, an increasing number of scholars have examined do-it-yourself (DIY) music cultures through the lens of curriculum theory and education research more broadly. Extant research into punk pedagogy has largely failed to investigate one particular cornerstone of DIY and punk culture: the live performance. This paper investigates the epistemological assumptions embedded within DIY music as a means toward uncovering the aesthetic pedagogies of DIY music performances. The author examines two aesthetically distinct (but thematically connected) performances that fall under the wider umbrella of DIY music: hardcore band G.L.O.S.S.'s set from San Jose, California, in 2016; and experimental percussionist Sarah Hennies' set at the 2017 End Tymes festival. This analysis contextualizes these performances within extant literature related to punk pedagogy, relational aesthetics, and the aesthetic theories of Paulo Freire.