By Rinelda Mouton
The music industry is undergoing a major transformation, with artificial intelligence (AI) increasingly changing how music is created, produced and consumed.
As AI-generated music gains ground globally, Confidente spoke to several Namibian artists about the technology, its opportunities and the concerns it presents for human creativity.
Young T WokOngha, real name Tulina Ndafyaalako, said he was not ready to form a definitive opinion on AI, as he is not currently using the technology.
“It is robbing God-given talent in a way. People who are not actual creatives can load up lyrics to AI, and it comes out as if they are singers. I see people using it. I guess they are doing their thing. AI makes beautiful songs, but it is a machine. It is not a human being. For me, AI is still too new. I don’t know how to form an opinion on it. It might be ‘the thing’ in the future,” Young T said.
Otjiwarongo-based artist Kalux, real name Saggarias Karunga, believes AI should be used to assist and enhance human creativity rather than replace artists.
He said music is not only about sound, but also emotions, personal experiences, culture and the story behind an artist.
“One of the biggest concerns is that AI can make it easier to copy an artist’s voice, style or identity without their permission. This can affect artists financially and creatively. There is also a risk that some people may rely too heavily on AI instead of developing their own skills and originality,” Kalux noted.
The Superstar hitmaker said he has used AI mainly as a supporting tool for ideas, research, content creation and improving certain aspects of his work.
He said the technology has helped him work faster and explore ideas he may not have considered before, but stressed that he does not want AI to replace his identity as an artist.
Singer and guitarist Big Ben, born Venaune Ben Kandukira, said many people fear that AI could eventually replace the human touch in music.
“An artist will present their work regardless of how they made it and major labels will have to reconsider their position when it means profits to them. Either way, the arts will live, fall and rise with the artists and the consumers of the arts,” Big Ben said.
The award-winning singer said he is currently exploring how AI tools could fit into traditional creative workflows or open the door to entirely new ventures.
“It is a pity that in Namibia, when it comes to things they do not know or understand fully, sometimes there is a habit of borrowing causes and campaigns without critically finding its own alignment first. I would prefer that we wait and see what it actually means for us locally. In the meanwhile, let’s learn how to use the tools so that we are never left behind, as is the case with many examples of technological developments,” he added.
The Moro Moro hitmaker said he has seen musicians extracting what they need from AI or reproducing what an AI application generates and then adapting it to fit their original ideas and creative approach.
German-Namibian Kwaito and hip-hop artist EES, real name Eric Sell, said music has always evolved alongside technology, from recording studios and synthesizers to drum machines, digital production and streaming. He described AI as simply the next major technological development in music.
“I do not think we should be afraid of it, but we also should not pretend there are no challenges. For me, the important question is how we use AI. I want AI to help me become more efficient, not to replace the human being,” EES maintained.
He warned that excessive reliance on AI could make music increasingly generic, with technically polished songs lacking personality, emotion and a genuine story.
The musician, who has built a following in Namibia and beyond through his distinctive musical style and energy, said artists must be protected and given a say in how their work and identities are used.
“There are also serious questions around copyright, ownership and the use of artists’ voices and music to train AI systems. I think some artists are not aware of how much trouble one could get into by not using this new generative AI correctly,” he said.
EES said the human element remains central to authentic music.
“You can teach AI what a hit song sounds like, but you cannot easily teach it what it feels like to grow up in Namibia, to experience certain things in your life, or to have your own cultural identity.”
EES said he uses AI mainly as a tool to enhance his work, particularly because, as an independent artist, he does not have the resources of a major record company or large creative team.
“I have to do many things myself – music, videos, artwork, marketing, social media and business. Anything that helps me get things done quicker helps a lot. But I still want the final product to be EES. My voice, my experiences, musical taste, Namibian background and my decisions are what make the music authentic.”
