In this article, I explore several complicating factors that impact (White) music teachers as they work towards decolonizing their teaching practices. Created by the discursive structures of settler colonialism, these factors include the discourse of an additive multiculturalism, both in society and in the field of music education, the tendency to enact what Tuck and Yang call "moves to innocence" to avoid dealing with one's privilege and complicity in systems of oppression, the Western penchant for spectacle and consumption resulting from an extractivist mindset, and a Western conception of music as works or pieces.