This dissertation is focused on music and other sound performance practices in 2011- and post-revolution Libya. I utilize performance as an analytic through which to study shifting social formations and relations of power, tracing performance practices as they appear in battles over ideological, affective, and geographic territories. Based in ethnographic research between 2011 and 2017, this dissertation contends that recent upheavals in the contemporary Libyan sociopolitical landscape are illuminated by attention to sonic performances and performativities. To attend to such performances and performativities, I thematize revolutionary utopianism, militia soundscapes, and quotidian policing. I begin with the extraordinary months of the 2011 uprising when popular music became a medium through which Libyans formed and performed a new and fleeting we. Through close readings of songs and the practices through which they circulated, I theorize the utopian front(line) as an affective formation through which previously closed futurities were temporarily opened. Moving into the following years, which were characterized by instability, rapid shifts in governance, war between militias, and foreign intervention, I explore militarized sonic performance practices in Libya's urban centers. I demonstrate how militias performed authority over shifting territories through sound, and how a range of interpellating acts produced forms of sonic governance. In a subsequent section, I show how quotidian performances of policing in Libya have utilized a repertory of Islamic reference. Tracing scenes in which music and sound occupied privileged positions in this repertory, I offer a contingent ethnographic approach to the study of music in/and Islam. Finally, I reflect on the position from which I have narrated these sonic upheavals and the embodied politics of the research undertaking.