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This paper attempts an intervention in contemporary popular music classification. It argues that popular musicians do not only choose the titles to their works, but go further to define the genres of these works. The dynamic at play is such that most popular musicians claim to produce works of different and new genres with each new work they create. By engaging with the works of a selection of Nigerian popular musicians, the paper shows a trend of opportunistic productions within the political music genre by artists not otherwise known for political songs. Through a discussion of the textual and contextual elements of the material, the paper argues that an increased number of popular musicians have started producing protest political music and unity political music, following Nigeria's democratization in 1999, as a way of alerting audiences of their political astuteness and in an attempt to court political relevance. [ABSTRACT FROM AUTHOR]