In 2022, my book about the South African music genre maskanda, often marketed as “Zulu blues”, was published by Bloomsbury Press. I address the divergent ways maskanda is heard, analyzed and conceptualized by those who participate in maskanda practice in current South Africa. Rather than treating maskanda solely as a performance or entertainment practice, I regard it as a mode of knowing engendering forms of (sonic and vocal) eloquence, ideas, sensibilities, historiographies, critiques, and reconfigurations of time and space in which I – a white female researcher from Europe – participated between 2008 and 2015 during almost annual fieldwork visits of one to four months. Thus, the book’s prime concern is musical epistemology – how people know music, and how we know our worlds through music.