The extraordinary life and musical journey of Ayub Bachchu—one of Bangladesh’s most revered guitar virtuosos and rock pioneers—holds all the hallmarks of a compelling feature film, according to prominent lyricist and music producer Asif Iqbal. Speaking at a memorial gathering held in Moghbazar, Dhaka, to mark the musician’s eighth death anniversary, Iqbal asserted that Bachchu’s narrative requires no embellishment or fictional flair. A screenwriter need only structure the remarkable events of his real life to create a poignant biographical drama.
The commemorative event was jointly organised by the Chattogram Musicians Club Dhaka, the Ayub Bachchu Foundation, and the late artist’s inner circle of friends and colleagues. Attendees gathered to pay homage to his vast musical repertoire, reflect on his indelible legacy within Bengali rock, and explore the concept of bringing his story to the big screen.
Reflecting on Bachchu’s enduring influence, Iqbal observed that true legends transcend their era through their creative output. Bachchu’s compositions continue to resonate deeply across generations, serving as an inspiration for emerging artists.
Speaking to the media following the memorial, Iqbal outlined the cinematic weight carried by Bachchu’s trajectory—from his humble origins in Chattogram under the moniker Robin to his ascension as the nation’s undisputed “Guitar Samrat” (Guitar Emperor). His life was defined by intense artistic passion, grit, and triumph. Early setbacks, including the initial commercial failure of his debut solo album, paved the way for his formative years with the renowned band Souls. At age 28, Bachchu made the decisive move to depart Souls and establish his own band, Love Runs Blind (LRB), fundamentally altering the landscape of Bangladeshi rock.
In 1992, LRB released Bangladesh’s first-ever double album, cementing Bachchu’s position as a revolutionary force in mainstream music. Yet his path was equally marked by human vulnerabilities: internal friction among fellow musicians, severe health setbacks that led to intensive care hospitalisation in 2012, and his tragic passing at the age of 56.
Iqbal pointed out that while biographical films in Bangladesh have historically focused on political figures, the country has yet to celebrate its musical titans on cinema screens. A film chronicling Bachchu’s life would offer the public a holistic view of the man behind the music—bridging the gap between casual listeners and the artist’s personal sacrifices. Whilst many in today’s youth recognise famous tracks like Rupali Guitar through short clips on social media, a feature-length film would provide rich context regarding his creative evolution and dedication to his craft.
Drawing parallels to the internationally acclaimed biopic Bohemian Rhapsody, Iqbal noted that musical biopics possess a distinct storytelling advantage. Audiences enter the cinema already attached to the soundtrack, allowing filmmakers to weave familiar, timeless melodies with intimate behind-the-scenes moments.
Beyond documenting history, such a project could address two of Bachchu’s unrealised ambitions: performing live before an audience of 1.5 million people at Manik Mia Avenue, and establishing a dedicated academy to teach the guitar to aspiring young musicians. Iqbal suggested that modern cinematic techniques could visually recreate the grand concert on screen, whilst the production itself could serve as a catalyst to raise funds for the guitar institute.
The initiative could also draw upon an exceptional archive. The Ayub Bachchu Foundation currently holds approximately 200 unreleased songs, which are planned for phased release and could serve as an authentic soundtrack for the film.
Recalling his personal friendship with the late legend, Iqbal highlighted their collaboration on the celebrated track Eksahta Swapno (A Hundred Dreams). He remarked that an artist who spent a lifetime giving voice to the dreams of others deserves to have his own story brought to light, ensuring his profound legacy remains immortalised for generations to come.
