The article investigates areas of knowledge production in contemporary queer-feminist punk countercultures in/from the US and draws a connection from countercultural accounts to academic anti-social queer theory. Based on the thesis that queer-feminist punk–countercultures, bands, musicians, writers and organizers–can be understood as a political movement, their productions—lyrics, writing, sound and performances—will be seen as a form of queer-feminist activism and agency. The main argument developed in the article is that queer-feminist punk countercultural agents do not only engage with queer and feminist politics, as well as academic theory, but also produce queer-feminist political theory—a more or less coherent set of ideas to analyze, explain and counter oppressive social structures, as well as explicit and open violence and oppression. Queer-feminist punk musicians combine decolonial and antiracist accounts with their specific punk philosophy of anti-social queerness or queer negativity. Lyrical content, and writing will be analyzed to show examples of queer-feminist anti-social accounts of punk music. Relating such queer-feminist punk negativity to academic concepts and scholarly work, it will be shown how punk rock is capable of negotiating and communicating academic queer-feminist theoretical positions in a non-academic setting. Moreover, it will be proven that queer-feminist punk does not only negotiate, translate and appropriate academic accounts, but also produces similar negative and repoliticized queer-feminist theories without any direct inspiration through academic discourses. Furthermore, it will be proposed that queer-feminist punk communities accomplish what academic queer theory following the anti-social turn often does not: they transform their radically anti-social queer positions into (models for) liveable activism/artivism.