This paper discusses two different but interrelated domains: popular culture and creole language. It intends to demonstrate how both domains are potentially opened to the construction of varied versions about past experiences. The paper focuses on Capeverdean popular music as a vivid example of how collective memory may be built through counter-hegemonic ways. The flexibility and the variability of Capeverdean creole (and of creole languages in general) are added up to the inventive and dynamic character of popular culture manifestations to enable the construction of multiple narratives about Capeverdeans’ past – complementary (or even contradictory) to official history.