The pollera has historically been a gendered, racialized clothing object in the Peruvian context. In its various situated designs, it has been associated with low-class, primarily rural, indigenous women, establishing a distinction between elite and grassroots women, and embroidering considerations of class, race/culture, and territory. Indeed, “pollera” could be understood as a “metonimic object” that names otherness derogatorily. Nevertheless, during Milena Warthon’s (MW) concerts, we can observe many girls wearing this traditional garment and singing her songs. MW is a singer who performs a genre that she calls the New Andean Pop. During her performances (in concerts, music videos, and social media), she wears polleras and sings about the struggles of the women and girls who wear them. I argue, echoing Silvia Citro’s understanding of performance, that MW’s performances are the convergence of poietic artistic objects that articulate social critiques with political goals. This happens through (sonic) political interruptions (Rancière) that invite her audience to hear an alternative discourse and therefore relate to the social life of this object in a different affective way, generating new aural affective commonalities (Ochoa-Gautier). If we consider the pollera as an object that represents an instituted hierarchy, MW’s performance uses the pollera as an instituting object. In other words, if the hierarchized pollera represents “politics,” the pollera that this artist wields expresses “the political. This ethnography aims to contribute to discussions concerning the intersections between aesthetics and politics as a means of creating alternative spaces for the political and the decolonization of feelings.