Uttam Gosh, originally from Jhapa and known by his stage name Himalayan Sitar, is pursuing a master’s degree at Kathmandu University.

In this conversation with the Post’s Aarya Chand, sitarist Gosh shares the story of his band OMG Spark. Saksham Shrestha, the band’s namesake, leads the group that fuses classical and hip-hop styles to celebrate heritage with modern music.

How did OMG Spark come together, and what inspired this fusion of classical and hip-hop?

My musical background is rooted in classical traditions. I study at Kathmandu University, where the music programme is research-oriented and heavily focused on folk and ethnic music. Alongside my academic journey, I worked at the Kathmandu Jazz Conservatory (KJC), where I explored Western music.

Shrestha, on the other hand, started purely in hip-hop. His early work didn’t incorporate ethnic elements, but he eventually began to explore his roots. His Newa background prompted him to understand his community's musical heritage, and he realised that Nepal has a wealth of untapped musical resources. That’s where we connected.

We first interacted on Instagram, and he invited me to his studio. Within a month, we decided to do a show together. That first event—‘Once Upon a Time in Kathmandu’, held on September 27, 2024, at Octave, Durbarmarg—laid the foundation for our band by showcasing a unique fusion of traditional Nepali music with modern hip-hop beats.

Your music features classical instruments like the sitar and sarangi. Why focus on these elements rather than other musical styles?

As musicians, we explore various genres, but at some point, we start looking inward and questioning what’s missing. That’s precisely what happened with our band’s lead—after years of making hip-hop, he turned to his culture for inspiration.

The problem is that traditional Nepali music has been overshadowed. We often gravitate toward what we hear the most, but more profound satisfaction comes from classical music and folklore. That’s why we made it a core part of OMG Spark. Each band member has a distinct role, and we ensure that these classical elements are given the space they deserve in our sound.

Who are the other members of OMG Spark, and what do they bring to the band’s sound?

Aside from Shrestha and myself, we have three other members:

Sanju Bajracharya, a guitarist and key band member, has been closely associated with Spark for a long time. Deepson is a flute player, producer, and percussionist who brings traditional and electronic elements into our sound.

Manish Gandharva plays sarangi and has been with us from the beginning. However, due to his other commitments, he isn’t always available. When he’s away, Sushant Shrestha plays sarangi in his place.

Your performances aim to ‘represent, preserve, and promote Nepal’s cultural heritage’. How do you see your music contributing to this effort?

Music is just one part of culture, but it connects everything—language, instruments, traditions. For example, a sarangi isn’t just an instrument. The type of wood used to make it, the goat or sheep skin stretched over its wooden body, helps amplify the sound—all of these are part of a larger cultural story.

We try to incorporate these elements into our performances. The album logo is written in Ranjana Lipi, a historic Newa script. We also try to put ethnic attire on stage and include Newa lyrics in our songs. Since Shrestha leads the band and he’s from the Newa community, this focus comes naturally. But I also want to bring in influences from Gurung, Tamang, Kirat, and Magar traditions in the future.

How does the band work together to blend these traditional and modern elements?

Our creative process is very collaborative. Shrestha is the band's foundation—without him, OMG Spark wouldn’t exist. We use his existing songs as a base and build on them.

Our band manager, Mahika, handles logistics—venue requirements, budgeting, ticketing—so we can focus on the music. We start with Shrestha’s tracks during rehearsals and slowly layer in each instrument. First, we add the guitar, then the sarangi, then the flute, and then the sitar. We experiment with different combinations until we find the right balance.

It’s not just about modifying our band lead’s existing work. Sometimes, new compositions emerge. For example, Deepson created a song called ‘Chamke Bijuriya’ based on the Hindustani raga ‘Vandis’.

We’ve been working on a new song called ‘Gorkhali’ recently. Shrestha and I are developing it together. He starts with the beat and a rough idea for lyrics, and then we refine it together. He works incredibly fast. My sitar take for ‘Gorkhali’ was completed in just three hours.

What challenges do you face in bringing Nepali folk and classical music into the mainstream?

One of the biggest challenges is perception. Many people still associate specific instruments with caste-based biases. Sarangi, for example, is often dismissed because it’s linked to the Gandharva community (a caste of traditional folk musicians). People look down on Gaine musicians, even though they are the bearers of a rich storytelling tradition.

It’s frustrating because when we hear a guitar or piano, we don’t associate it with caste or hierarchy. Why should Nepali folk instruments be treated any differently? Changing this mindset is a significant challenge.

Another issue is that people often mistake classical music for being exclusively religious or spiritual. While some forms, like ‘Dhrupad’, are deeply devotional, others, like ‘Thumri’, are lighter and more accessible. There’s a misconception that classical music is rigid and outdated, but it has many possibilities beyond temples and rituals.

A final challenge is the political aspect. Some people dismiss the use of sitar as a part of ‘Indian music’ because of cross-border tensions. But music isn’t bound by borders. Since the 10th century, artists from this region have contributed to classical music too. It’s part of our shared heritage, and we should celebrate it.

In your first show, ‘Once Upon a Time in Kathmandu’, what kind of feedback did you receive?

The response was positive. We didn’t expect our first show at Octave to be a full house—especially since it was raining—but tickets sold out, and we had around 200-250 people in the audience.

One of the most memorable moments was an interactive call-and-response with the audience. The organisers gave us good feedback after our second show, ‘Sunflower Weekender’, held from November 15 to 16 last year at Godavari Village Resort.

What’s next for OMG Spark? Any upcoming projects or collaborations?

Our current focus is ‘Echoes in the Valley’. This show is important because it aligns with our mission to highlight Nepal’s folk traditions.

Looking ahead, we want to expand our music beyond Nepal. Our long-term vision is to perform at global festivals like the World Music Expo, which showcases traditional instruments in contemporary music. However, to reach international audiences, we need to package our sound in a way that is both authentic and accessible.

Where do you see the future of traditional Nepali music on the global stage?

There’s so much potential. The problem isn’t the quality of our music—it’s that it hasn’t been presented effectively to the world.

Whenever I talk to my professor, Lochan Rijal, he reminds me that Nepali music has untapped resources. Artists like Jhuma Limbu are bringing Kirati musical traditions into the mainstream. That’s what we need more of—people who are willing to preserve, protect, and promote our sounds.

Our folk instruments and musical styles are at a level where they can compete in global genres. The challenge is getting more artists and listeners invested in it. Nepali traditional music is mainly categorised as ‘world music’. We want to change that by making it a more recognised and evolving genre.