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Owerri bongo is a sub-genre of the Igbo highlife music. It originates among the Owerri people of the Igbo ethnic group, in present day southeast region of Nigeria, formerly the Republic of Biafra.

Cultural frames are the major construct in Owerri-Igbo Bongo Music world, which is the major reason it thrives in the Eastern part of Nigeria. Previous studies on Owerri-Igbo Bongo Music have focused on analysing the socio-political namely, resistance to cultural hegemony issues in the lyrics and that of the language and cultural renaissance, those that investigated African indigenous music have mostly focused on Nigerian hip-hop music, exploring ideologies and sexual themes. This chapter investigates cultural frames and the use of sociocultural metaphors in Owerri-Igbo Bongo Music with insights drawn from framing theory and deliberate metaphor theory. Nine tracks from five contemporary Owerri-Igbo Bongo Music were purposefully sampled. The selection of these tracks was based on the recurring themes of cultural resonance and identity, wide acceptability and accessibility of these songs. The chapter focuses on the linguistic and the discursive tools deployed by these artists in framing the Igbo culture and constructing the sociocultural metaphors which address issues of morality, unity, family relations and social justice. It also examines how these frames and metaphors provide philosophical insight into African culture and influence the perception of the audience as regards their cultural beliefs and social identity.