Namibian rapper Nga-I says fans can expect a more complete version of his signature Ovi-Trap sound on his upcoming project, which was largely written during a period spent away from the city and closer to his cultural roots.
The artist, who has spent years championing Otjiherero rap through the Ovi-Trap movement, recently opened up about the evolution of his music, the importance of cultural identity, and why he continues to challenge traditional music distribution systems.
According to Nga-I, one of the biggest differences between his earlier work and the music he is preparing to release now is that he finally had the time to listen to what supporters have been asking for.
“I have real fans and they tell me what they want. Thing is I never had the time, now I took the time to add all of those things,” he said.
The upcoming project was written while he spent time at a farm, an experience he says had a major impact on his creative process.
When asked what inspired him during that period, Nga-I responded simply: “I’m out there with the elders bro, the ancestors.”
Although he remained tight-lipped about exactly what changed during that experience, he admitted it had a significant effect on him both personally and creatively.”
Yes it did, absolutely. But I won’t tell you haha!” he joked.
For many fans, Nga-I’s name has become synonymous with Ovi-Trap, the genre he pioneered by blending Otjiherero language, culture and modern hip-hop influences. However, he believes the movement has grown beyond music alone.
“Ovi-Trap is more than a genre Boeti, it’s a feeling. I just appreciate how I can still make people feel something. If that’s my identity then I’ll keep doing that.”
His comments come at a time when conversations around cultural identity in Namibian music continue to gain momentum. Over the years, artists performing in Otjiherero, Oshiwambo, Khoekhoegowab and other local languages have helped prove that audiences are increasingly embracing music rooted in local experiences and traditions.
Hip-hop in particular has played a major role in that shift. While the genre once occupied a smaller space in the local mainstream, its influence can now be heard across almost every corner of Namibian popular music.
Nga-I believes many of the country’s biggest genres and music professionals owe something to hip-hop culture. “HipHop is the foundation of our sound, To be honest the most popular genres all came from hiphop, the DJs used to be HipHop DJs, the producers and even the videographers all used to do HipHop.”
He even argues that some of the biggest names in other genres still identify with rap culture.
“I mean what do the kings of Kwaito music call themselves? ‘Rap’pers.”
Despite his impact on the local music scene, Nga-I says his work is far from finished.
While many artists focus on streaming platforms such as Spotify and Apple Music, he remains cautious about entering systems he believes do not adequately compensate African artists.
“No I haven’t,” he said when asked whether he had achieved his goals for vernacular music.
“My main fight is distribution, but I don’t want distribution if it doesn’t benefit me as the artist.”
He revealed that his music is still unavailable on several major international streaming platforms because of concerns over artist earnings.
“My music still isn’t on Apple or Spotify etc, cos those avenues aren’t paying us.”
Instead, he continues to place faith in African-led solutions, specifically the work being done through DONLU’s monetisation initiatives.
“I’m just waiting on Donlu to hack the system properly, and they’re almost there.”
Beyond digital distribution, Nga-I says he is also looking toward the continent itself as the next stage of his journey.”
I’m traveling around, planning an African tour to literally take the music around the continent.”
As Namibia’s music industry continues searching for sustainable ways to monetise local content, Nga-I’s stance highlights a growing debate among artists. While global streaming services offer access to international audiences, many musicians remain concerned about whether the revenue generated is enough to support creators in smaller markets.
For Nga-I, the answer appears to lie not only in technology, but in ownership, culture and direct connection with audiences.
And as he prepares to release new music shaped by time spent with “the elders” and guided by fan feedback, the Ovi-Trap pioneer seems determined to continue doing things on his own terms.
