The pedagogical strategy of students choosing their own friends with whom to work in classroom contexts (under the guise of democratic participation) because this is how popular musicians learn, has mostly gone uninterrogated in the literature. Approaching the question of how to create a common world through a critical examination of the unexamined assumptions that underpin emerging celebratory discourses on friendship, I consider the ways in which the words friends and friendship are indiscriminately used without acknowledging that the soundness of this pedagogical choice is based on data collected from people ('real life' popular musicians) who are in, more often than not, instrumental relations of utility. In doing so I call for a rereading of friendship groups in order to resist the neoliberal injunction of self-interest, a survival-of-the-fittest ethos, and unchecked individualism. To that end I question the ways in which friendship groups in popular music groupings have become sites for developing and perfecting the neoliberal self.