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Channulal Mishra's music is eclectic, featuring unmistakeable references to Benares, Kirana and Patiala gharanas, three very contrasting traditions of North Indian classical singing, which have all played a meaningful part in the singer's development.

He was brought up in an atmosphere of rich musical activity in the ancient, holy city of Benares, starting his vocal training at a young age under the guidance of his father, Badri Prasad Misra. He is also the son-in-law of the late Anokhelal Misra, a great tabla player of Benares tradition.

Later his musical vision and skills were refined by Ustad Abdul Ghani Khan and Thakur Jaidev Singh. Having left his home to learn music he was nurtured in the honoured practice of 'guru shishya parampara', a diminishing tradition where the student stays in the home of his or her teacher. Groomed under the watchful eye of the Guru is devoted to the musical and spiritual growth of the student, just as a father is devoted to his own son.

In this recital, Channulal Mishra begins with a khayal, a classical rendition of raga Maru Behag. Khayal is the most dominant form of singing in Hindustani classical music, giving great scope to the imagination and individuality of the singer. Khayal singing is marked with melodic elaboration, decorative elegance, sensuousness and romanticism. It invariably combines devotion with romance.