As the clock neared 11:45 pm on Tuesday, 17 February 2026, a profound sense of cultural reclamation swept across Dhaka’s Manik Mia Avenue. Following the swearing-in ceremony of the new government, the “Sobar Agey Bangladesh” (Bangladesh Above All) concert served as a defiant end to months of musical stagnation caused by security concerns. The evening’s emotional crescendo arrived when James, the legendary frontman of Nagar Baul, performed his iconic masterpiece, “Bangladesh”.
A Night of Musical Resurgence
The atmosphere was electric as James prepared for his seventh song of the night. With a subtle nod to his long-time drummer, Ahsan Elahi Furty, the haunting guitar intro of the Prince Mahmud composition began. For many in the crowd, hearing the lyrics—which invoke the legacies of Sher-e-Bangla, Bhashani, the fiery speeches of Bangabandhu, and the dreams of Shahid Zia—was a moment of immense catharsis. Despite past rumours of a political de facto ban on the track, James proved that the song remains an inseparable part of the national identity.
Before the “Guru” took the stage, the evening was bolstered by a stellar line-up of Bangladesh’s finest musical acts, each bringing a unique energy to the Parliament-adjacent venue:
| Performer / Band | Key Highlights & Tracks | Audience Reaction |
| Shironamhin | Hasimukh, Bondho Janala | A “sea of lights” as thousands held up mobile torches. |
| Zeffer Rahman | Jhumka (with host Rafsan Sabab) | High-energy dance and youthful exuberance. |
| Warfaze | Purnota, Obak Bhalobasha | Classic rock nostalgia and heavy rhythmic participation. |
| James & Nagar Baul | Bangladesh, Ma, Dustu Cheler Dol | A definitive emotional peak; fans breaching security to reach the stage. |
The Resilience of a Legend
James commenced his set at 23:00 with “Kobita”, immediately followed by hits like “Dewana Mastana” and “Pagla Hawa”. Despite appearing slightly under the weather—frequently pausing for ginger tea and battling a persistent cough—the “Nagar Baul” refused to dampen the spirit of the occasion. He addressed the sea of fans with his signature affection: “You are my soul, you are my life; as long as you are here, I am here.”
The concert was more than a mere musical event; it was a symbolic restoration of the “Open Air” culture that defines Dhaka’s social fabric. After months of cancelled shows and indoor-only performances, the sight of thousands singing in unison under the night sky marked a turning point for the arts.
The Final Chord
The marathon performance concluded precisely at midnight with the philosophical ballad “Asbar Kale Aslam Eka”. As the final notes faded, the crowd dispersed with a collective sense of renewal. The “Sobar Agey Bangladesh” concert successfully transitioned the nation from a period of uncertainty into a new chapter, underscored by the timeless power of rock and roll.