The extensive use of legato and sharp notes makes the riffs unique to the Maskandi genre. Typically a Maskandi lead or backing singer should have a solid understanding of the concepts of musical key, harmony as well as good rhythm/timing. Given the emphatic singing style, it is also important for a Maskandi singer to have developed lung capacity and demonstrate a good breathing technique. Musical Style A traditional Maskandi song is distinguished by an instrumental flourish ("izihlabo"), typically played on the acoustic guitar or the concertina, that sets the tone at the beginning of each song. Izihlabo are also an introduction of sorts, and serve the purpose of allowing the guitarist to showcase/show off their level of skill by capturing the listeners' attention. Given that traditional Maskandi guitarists tune their guitars differently, listening to izihlabo also provides a way for the listener to tell with certainty the identity of the guitarist/band. Izihlabo are typically rapidly played notes, that do not necessarily make up a melody or explicit rhythm. Playing izihlabo can also be likened to an actor getting into character. In a Maskandi song, there will typically be rapidly spoken sections of Zulu praise poetry, called "izibongo". The content is not always praise, though, and with pop, house and other influences colouring Maskandi, it has become more about the storytelling ethic and the modern migrant culture, than simply about the musical style. Another key element of Maskandi music is the lead singer's natural personality. In Maskandi music, it is not uncommon for songs to "sound the same", yet the music consumption does not necessarily decrease. Fundamentally Maskandi is about telling stories and providing a window to the lead singer’s soul. It is largely about the message carried in the songs and music, and this is why it is considered the same as listening to soul or blues music. Early 2000s there was a new artist introduced called Mtshengiseni Gcwensa (late) who started music with his friend Mgqumeni Khumalo (late). They both introduced many styles in this industry which made upcoming artists look up to them. Composer Darius Brubeck described the maskandi as "a performer of neo-traditional Zulu instrumental music. Etymologically the word derives from the Afrikaans musikante (musicians). KwaZulu Natal, a province of South Africa where I have lived and worked for the past decade, is home to literally thousands of 'Maskandis', who have developed a rich musical repertoire employing