This paper interrogates the Almajiri counter-lyric in Abdul Rasheed Na’Allah’s Almajiri African poetry. It explores how Na’Allah uses the aesthetic and affective power of poetry to restore voice and complexity to the Almajiri figure. The paper draws on Richard Bauman’s Performance Theory with Ngũgĩ wa Thiong’o’s Decolonial Perspective as theoretical frameworks for its literary analysis.  By intertwining Bauman’s concepts of performativity with Ngũgĩ’s decolonial aesthetics, this analysis reveals that Na’Allah transforms the experiences of an Almajiri into powerful public testimonies. The study discovers that Na’Allah underscores the political significance of the counter-lyric by resisting the erasure of the Almajiri by centring their voices within a lyrical space of protest.