James Electrifies Manik Mia Avenue With ‘Bangladesh’ Anthem

As the clock struck 11:45 pm on Tuesday, 17 February 2026, a wave of palpable electricity surged through the vast expanse of Manik Mia Avenue. After finishing his sixth song, the legendary James (Faruq Mahfuz Anam) paused, casting a swift glance back at his long-time drummer, Ahsan Elahi Funty. With a single whispered cue—“Bangladesh”—the night transformed.

The iconic guitar intro, composed by Prince Mahmud, pierced the night air. As James belted out the soulful lyrics—referencing the legacies of Suhrawardy, Sher-e-Bangla, Bhashani, and the fiery speeches of Bangabandhu alongside the dreams of Shahid Zia—the audience fell into a state of collective catharsis. This performance was particularly poignant; rumours had long swirled regarding a de facto ban on the song due to the volatile political climate of previous years. However, the “Nagar Baul” frontman has always maintained that his setlist is governed only by his artistic whim.

A Night of Musical Resurgence

The concert, titled “Sobar Age Bangladesh” (Bangladesh Above All), served as a grand celebration marking the inauguration of the new government. Following months of cancellations and security-related hiatuses in the cultural sector, the event acted as a vital release for music lovers.

From Twilight To Midnight

The evening began with Shironamhin, whose performance of Ei Obelay saw thousands of mobile phone lights swaying like a river of stars. They were followed by Zeffer Rahman, whose stage presence, alongside host Rafsan Sabab, turned the avenue into an open-air dance floor. By 9:45 pm, the veteran rockers of Warfaze took the stage, their heavy riffs and powerful drum beats shifting the atmosphere toward high-octane rock.

The Guru’s Resilience

When James finally took the stage at 11:00 pm, he opened with Kobita. Despite visible signs of physical strain—frequently retreating to sip ginger water and pausing due to a persistent cough—the “Guru” refused to falter. He moved through his repertoire of Ma, Dustu Chaler Dol, and Pagla Hawa with a grit that only a seasoned performer possesses.

“You are my soul, you are my life,” he told the roaring crowd, occasionally blowing kisses to fans who attempted to breach security cordons just to touch his hand. The night concluded exactly at midnight with the philosophical strains of Asbar Kale Aslam Eka. For the thousands gathered under the Dhaka sky, it was more than a concert; it was the harmonious return of a nation’s cultural heartbeat.