Habib Wahid has been a pioneering force in the fusion and modernisation of Bangladeshi music. Arriving in London in the late 1990s, he immersed himself in a new musical landscape that ultimately reshaped domestic musical sensibilities upon his return to Bangladesh. In a detailed conversation with our representative, Wahid reflected on his early career, his time as a migrant in London, and his collaborations with both folk custodians and emerging voices in Bengali music.

London Years and the Kaya-Helal Connection

Habib’s London years, spanning 1999 to late 2002, were formative. Beyond academic pursuits, he discovered a new musical realm, delving into Bengali folk traditions. Through a family friend of his father, Ferdous Wahid, he was introduced to Kaya. “That friend had performed with my father when I was young,” Wahid recalls.

During weekends, Wahid performed live in a London restaurant, primarily covering English songs. The restaurant was owned by Kaya’s friend and Helal’s brother-in-law, through whom he forged a close association with Helal. These early connections shaped Wahid’s desire to bring unique voices to the public.

Upon returning to Bangladesh, Wahid launched his first album, Krishna, a groundbreaking fusion of Bengali folk and Western musical styles. The 2003 album introduced a fresh dimension to pop music and captured the imagination of young audiences. The following year, he released Maya, collaborating with Kaya and Helal, further cementing their popularity. Even two decades later, songs such as Krishna, Ami Kulhara Kolonkini, Kala, Bande Maya Lagai, and Kuhu Sure Moner Agun remain widely celebrated.

Shirin: The Baul Queen

Wahid first heard folk singer Shirin at a family event in London and was captivated by her unique voice. “Her singing was exceptional even in casual performances, and I knew we had to work together,” he recalls. Shirin, known locally as the “Baul Queen,” later collaborated with Wahid on the 2008 album Panjabiwala, which included hits like Moner Bagane, Shikhaya Priti, and Shahjalal Baba.

Nancy and the Modern Cinema Wave

Through his father, Wahid discovered Nancy. Their first collaboration was a commercial jingle, followed by a short segment in Tomake Chere Ami Ki Niye Thakbo. Together, they pioneered a modern sound for Bangladeshi cinema, contributing to films such as Hridoyer Kotha, Akash Chhoa Bhalobasha, Dub, Moner Vitor, and Hawae Hawae Dolna Dole. Wahid notes, “Working with Nancy is my comfort zone. Her voice is so distinctive, and audiences love our collaboration.”

Supporting Emerging Talent

Wahid continues to work with lesser-known musicians, including Arfin Rumy, Imran Mahmudul, and Pritom Hasan, helping them build confidence without overshadowing their own creativity. “I never create anyone; I simply encourage them,” he says.

Currently, Wahid remains busy producing content for his YouTube channel and has recently recorded songs for Ityadi, scheduled for Eid release. His collaborations with Kaya, Helal, Shirin, and Nancy have left an indelible mark on Bengali music, blending folk authenticity with contemporary innovation.