Aubrey Qwana’s version of Afro-pop is embellished with elements of contemporary western genres like hip-hop and South African sounds, while the drawl in his vocals is inherited from maskandi, a genre synonymous with KwaZulu Natal, the province where his hometown Ulundi is located. The sprinkles of gospel in his music are owed to the 1992-born artist‘s parents being pastors in the Zion Church, which is known for its unique a cappella singing. But the turning point in Aubrey’s life came when he would frequently visit his mother (who had relocated to Johannesburg) and stayed in one of the many hostels built by the apartheid government to accommodate Black labors. Mbhaqanga and maskandi were staples at the hostels and Aubrey got to watch performances by artists such as Soul Brothers and Ikhansela No JBC, who’ve had a lasting impact on him. The stories told by the musician are those of ordinary Black South Africans living in rural areas and townships. His 2020 breakout hit, “Molo,” details the outsmarting of malicious friends while “Ehostela” from his 2020 debut EP, Imvula Mlomo chronicles his mother’s migration, a story relatable to many whose parents had to leave their homes to work in the City of Gold.