Linguistic Innovations in Nigeria Music Industry:

A Study of Selected Songs of Mohbad (Ko Por Ke (KPK) and Peace)

Abstract

This study examines linguistic innovations in the Nigerian music industry through an analysis of selected songs by Mohbad (2019), specifically “Ko Por Ke” (KPK) and “Peace”. Without any iota of doubt, Nigerian music, particularly within the Afrobeats and street-pop subgenres, has continued to serve as a dynamic site for language evolution, incorporating creative lexical formations, code-mixing and code-switching, biblical allusion as well as phonological stylisation. This study employs a qualitative research design and content analysis to analyse linguistic innovations. Drawing from Weinreich’s (1953) language contact hypothesis and Hall’s (1973) encoding/decoding frameworks, this paper examines how Mohbad employs novel linguistic strategies, including neologisms, slang, and phonetic modifications, to construct meaning, identity, and social commentary. This study aims to explore how Nigerian youngsters use linguistic innovation in music as a means of social interaction and cultural expression. The objectives of the study are to examine and interpret linguistic innovations with reference to socio-cultural context. The rationale is that linguistic innovation has received little scholarly attention in contemporary Nigerian music, particularly among street-pop performers. The study also considers the role of these linguistic innovations in shaping popular discourse and their impact on youth language practices. Findings reveal that Mohbad’s lyrical choices contribute to the evolving lexicon of Nigerian urban culture, reinforcing the interplay between music and everyday communication. This analysis sheds light on the broader implications of musical discourse in language change and identity construction in Nigeria.