This chapter examines how three foremost Yoruba playwrights – Akinwumi Iṣọla, Wọle Ṣoyinka, and Fẹmi Ọṣọfisan – draw on songs to enrich their works and reinforce the themes of their texts. The study shows that the songs are as varied as the moods and themes that they accompany: they could at times form part of the structure of the story whereby the songs become systematically interrelated parts of the play, or they could be used as means through which the playwrights engage their readers in serious discourse. Nonetheless, the study reveals that the writers employ songs differently in their drama. While Akinwumi Iṣọla preserves the songs in their original traditional form most of the time, songs in the dramaturgy of Wọle Ṣoyinka and Fẹmi Ọṣọfisan are only pseudo-traditional because of the way the songs are adjusted by the two playwrights. The two pertinent questions that I address in the chapter are: How has each of the three playwrights appropriated songs? What are the artistic, political, and ideological implications of the songs in the dramatic texts of each playwright?