In the late hours of Tuesday, 17 February 2026, the heart of Dhaka vibrated with a long-awaited musical resonance. As the clock struck 23:45, the legendary rock icon James, the frontman of Nagar Baul, transitioned from his sixth song to a moment that would define the evening. With a subtle nod to his drummer, Ahsan Elahi Furty, the familiar, spine-tingling guitar intro of the anthem “Bangladesh” began to echo across Manik Mia Avenue.
The crowd, estimated in the tens of thousands, was swept by a wave of collective emotion. The lyrics, penned by Prince Mahmud, invoked the names of the nation’s founding fathers—Suhrawardy, Sher-e-Bangla, and Bhashani—and referenced the historic speeches of Bangabandhu and the dreams of Shahid Zia. For years, rumours of a de facto ban on the song had circulated, yet James reclaimed the stage, proving that his setlist is governed only by the “will of the artist” and the pulse of the people.
A Grand Return to the Stage
The concert, titled “Sobar Age Bangladesh” (Bangladesh Above All), served as a cultural inauguration for the newly formed government. After months of cancellations and security-related hiatuses in the music industry, this open-air festival marked a triumphant return to normalcy.
The evening featured a stellar line-up of Bangladesh’s musical elite:
| Performer / Band | Key Highlights & Performances |
| Shironamhin | Opened the evening with emotional renditions of “Hasimukh” and “Ei Obelay”. |
| Jefar Rahman | Ignited the crowd with “Jhumka”; shared the stage with host Rafsan Sabab. |
| Warfaze | Brought heavy rock energy with classics like “Purnota” and “Obak Bhalobasha”. |
| Kona | Captivated the audience with her signature melodic pop hits. |
| James (Nagar Baul) | The headliner; performed “Kobita”, “Ma”, and the iconic “Bangladesh”. |
Resilience Amidst Ill Health
Despite appearing slightly frail and frequently retreating to the back of the stage to sip ginger water for a persistent cough, James remained undeterred. His connection with the “Guru-shishya” (devotees) was palpable. Between hits like “Dusto Cheler Dol” and “Pagla Hawa”, he blew kisses to the crowd, declaring, “You are my life; as long as you remain, I remain.”
The energy was so intense that security personnel struggled to contain enthusiastic fans attempting to breach the barriers to touch the “Nagar Baul” legend. The marathon performance finally concluded at midnight with the philosophical track “Asbar Kale Aslam Eka,” leaving the audience with a sense of catharsis.
The night was more than a mere concert; it was a communal reclamation of public space and cultural identity. Under the vast Dhaka sky, the unified voices of thousands signaled that the period of musical stagnation had finally come to an end.