Sports have been a major American cultural arena for displaying Native American stereotypes. Central to debates about Native mascotry, the so-called Washington “R**skins” maintained the racial slur and logo for almost a century. Native scholars, activists, and Tribal leaders have fervently called for a change in the name for decades. In particular, protests have been important in sounding dissent against Native stereotypes in the home football team of Washington, D.C. My paper provides a close listening to three key sonic moments of Native performers and powwow singers at Washington football games: 1) the 2017 protest led by D.C.-based Northern Drum group, the UpTown Boyz, at the Washington team’s home stadium; 2) the 2020 celebration by UpTown Boyz at the R.F.K Memorial Stadium when the team changed its name; and 3) the 1977 “unexpected” (Deloria 2004) half-time show by an all-Native marching band directed by Louis Ballard (Quapaw/Cherokee). Based on fieldwork and historical research, I show how these performances sonically assert Indigeneity in settler colonial spaces designed to erase it. Deriving from Mapuche sound scholar Luis Carcamo-Huechante’s (2025) concept of “interference,” I argue that these sonic acts of interference disrupted the settler colonial soundscape of the Washington team. This paper contributes to interdisciplinary dialogues in ethnomusicology, sound studies, and Native American and Indigenous studies by demonstrating how Native performers strategically and sonically disrupt stereotypes in the American cultural realm of sports. This paper also suggests that music and sound scholars should closely examine sports as sonic sites that (re)produce settler colonialism.