This study investigates the discourse domain of contemporary radio from 1992 in Ghana, and portrays it as an avalanche that has buried the stifling and uninspiring radio broadcast of the past, firmly replacing it with the euphoria and mass appeal of private radio. Basing my data mainly on three socio political stories and popular programmes, I observe that contemporary radio broadcast in Ghana, in comparison to that of the past, is characterised by innovations in (a) language, (b) programmes and (c) interaction At the level of language, I make two observations: firstly that the language used on contemporary radio is mostly an unfettered incidence of hybridity along a continuum of English and Ghanaian languages and secondly, that the personnel of these radio stations pioneer and encourage experimentation in innovative and resourceful ways of using language. These two circumstances have caused concern among the general public because the practices seem to evidence the restructuring of the traditional broadcast landscape. In investigating programmes, I organise them into assemblages, performances and episodes. And at the level of interaction, I observe that contemporary radio shows a shift in the form of presentation and this change hugely captivates listeners and completely revolutionarises the listening habits of the Ghanaian public into a new radio culture of immense participation. I identify the instigators of this `revolution' as the talk drivers or the radio hosts. Finally I establish three configurations of talk interaction that show how individual choices and motivations are central to the collaborative effort of talk interaction on FM radio.