For Dhaka’s music aficionados, this year has proved particularly disappointing. One after another, concerts have been abruptly cancelled at the last minute, leaving artists, audiences, and organisers alike frustrated and dissatisfied. The most recent incident occurred on 13 December, when the highly anticipated performance by Pakistani singer Atif Aslam was suddenly called off. The news spread rapidly across social media, igniting waves of shock and anger among his fans. The cancellation was attributed to organisers’ failure to secure proper approvals, ensure adequate safety measures, and manage the logistical requirements necessary for a smooth event. Atif Aslam himself took to Facebook to express his regret over the disappointing turn of events.
Amid this growing unrest, Bangladeshi music legend and Miles band member Hamin Ahmed voiced his candid criticism without hesitation. He stressed, “First, obtain all necessary approvals; only then should promotion and ticket sales begin. That is the simplest and most disciplined approach. Empty promises, excuses, and disappointing music lovers can never truly destroy the live music experience.”
Hamin further highlighted that several concerts in Dhaka this year had been promoted and tickets sold without proper authorisation, only to be cancelled later. The ripple effects of such mismanagement have left performers, audiences, and organisers equally disheartened. “Promoting events without approvals undermines the audience’s experience and damages the reputation of the artists,” he noted. “By adhering to government regulations and safety protocols, it is entirely possible to host successful, high-quality concerts.”
His critique extended beyond the organisers to political authorities. In a Facebook post, he remarked that in the country’s 54-year electoral history, no political party has ever prioritised music in its commitments. He questioned, “Plans are announced for everything—so why not for music?” Through these comments, Hamin underscored the importance of civic responsibility and the role of elections in fostering cultural progress.
Ultimately, the recurring last-minute cancellations of concerts due to lack of planning and approvals have left both artists and audiences disappointed. Hamin Ahmed’s forthright and incisive remarks deliver a crucial message to organisers, performers, and authorities alike: without careful planning, proper authorisation, and a genuine commitment to cultural development, the dream of hosting successful and enjoyable live concerts in Dhaka remains unattainable.
