Popular songs are a genre where code-switching is seen as a norm. Under the prevalence of World Englishes (WE), genres of text associated with popular culture ranging in different languages have been extensively studied (e.g., Lee & Kachru, 2006; Lee & Moody, 2012; Ng, 2020). Frameworks for analyzing code-switching in pop culture were launched for better theoretical explanation to the phenomenon (e.g., Chan, 2009; Li, 2000; Lin, 2009). Cantonese pop songs (Cantopop), however, is still in its infancy, and rarely are data gathered in the context of Macao. This study adopted the refined analytical framework of Ng (2020) in analyzing Cantopop, encompassing the features of Cantonese-English code-switching from the pragmatic perspective. The positions of English lyrics and the formats of code-switching are also investigated. A mixed-methods approach was adopted with detailed textual analysis of 15 award-winning original pop songs of a local music awards in the most recent five years, together with interpretation obtained from surveys, semi-structured interviews and a focus-group interview with members from the general public and the music circle. It was found that English positions and formats of code-switching vary in frequency of occurrence and associated pragmatic effects. The result of the surveys indicated that for both the general public and the music circle, English in Macao Cantopop is most often perceived to carry the function of aesthetic effects, expedience, conveying thematic meanings, avoiding embarrassment, and emphasis of emotions. Pop song was distinguished from other types of text to endow the topic with double values.