Decolonial movements and postcolonial theory have long debated the possibilities and hazards of using ideologies and strategies implicated in colonialism, acknowledging their affordances while warning of their pitfalls (Chatterjee 1986; Fanon 1961; Mignolo 2000; Quijano 2007). The Basque Country is a stateless nation on the Iberian Peninsula that has long resisted outside domination and music is one way in which Basques develop alternative visions for their future. In this project, I examine the repertoire, imagery, and performance techniques of the all-female Basque pop band Neomak, a group who began as back-up singers and percussionists in a project called “Kepa eta Sorginak” (Kepa and the Witches). In the Basque Country, the colonization of consciousness has occurred through restrictions and impositions upon the Basque language and through the portrayals of, and associations with, sorginak (“witches”) and other pre-Christian Basque figures. Through an in-depth examination of their eponymous 2022 album and a 2026 live concert, I explore how Neomak’s use of and promotion of the Basque language and Basque cultural autonomy through auto-exotification, sexualization, and the mannerisms, structures, and formulas of global pop music is not an anticolonial attempt to “dismantle the master’s house,” but rather an attempt to use “the master’s tools” to build their own home (Lorde 1984, 112). I seek to reveal how ethnomusicological research can offer insights into the difficulties of enacting meaningful change to oppressive systems and highlight the ways in which such actions can still be powerfully positive.