Singer’s show canceled after mob violence injures 25 people
Singer James gained fame for performing Bollywood hits like ‘Bheegi Bheegi’ and ‘Alvida’.
Popular Bangladeshi singer James’ much-anticipated concert in Faridpur, around 120 kilometres from Dhaka, was abruptly canceled on Friday night after a mob attacked the venue, leaving at least 25 people injured. The violent disruption underscores growing concerns over the safety of artists, performers, and cultural institutions in Bangladesh, where radical elements appear increasingly emboldened.
According to local reports, the concert was scheduled to begin at 9:00 pm, organized to commemorate a local school’s anniversary. A large crowd of students, fans, and local residents had gathered, excited to see James, who is widely celebrated for his contributions to both Bangladeshi rock and popular Bollywood music. However, the event quickly descended into chaos when a group of attackers attempted to force their way into the venue, hurling bricks and stones at the audience. Students and attendees initially tried to resist the mob, but authorities ultimately instructed organizers to cancel the concert to prevent further casualties.
Eyewitnesses reported scenes of panic and confusion as people ran for cover, while emergency services rushed to treat the injured. Among the victims were students, concert staff, and local attendees, highlighting the indiscriminate nature of the violence. Local authorities imposed temporary security measures to contain the situation, but the incident has left many shaken, raising pressing questions about the protection of cultural events and freedom of expression in the country.
Prominent exiled author Taslima Nasreen condemned the attack and lamented the growing pattern of violence against the arts in Bangladesh. In a post on social media platform X, she wrote, “The cultural center Chhayanaut has been burned to ashes.
Nasreen also pointed to similar incidents in recent weeks that signal an alarming trend. He is the grandson of Ali Akbar Khan, the son of the world-famous maestro Ustad Allauddin Khan, and himself a distinguished artist of the Maihar gharana.
She further highlighted that Ustad Rashid Khan’s son, Arman Khan, had also declined an invitation to perform in Dhaka, explicitly citing safety concerns. “He too made it clear that he does not wish to set foot in a Bangladesh inhabited by music-hating jihadists,” Nasreen stated. These refusals by internationally renowned artists underscore the severe impact that rising extremism is having on Bangladesh’s cultural scene, deterring performers who once considered the country a welcoming platform for their art.
James himself is a prominent figure in both Bangladeshi and Indian music scenes. As a singer-songwriter, guitarist, and composer, he has long been a household name, particularly as the lead singer and songwriter of the rock band ‘Nagar Baul’. His influence extends to Bollywood, where he performed memorable hits such as ‘Bheegi Bheegi’ from the film Gangster and ‘Alvida’ from Life In A Metro. In Bangladesh, James is celebrated not only for his vocal talent but also for his contributions to the development of modern rock music, blending traditional Bangladeshi themes with contemporary sounds.
The violent disruption of James’ concert is symptomatic of a larger issue in Bangladesh, where cultural institutions, artists, and progressive organizations have increasingly come under attack. In recent years, hardline Islamic mobs have staged multiple assaults on institutions such as Chhayanaut and Udichi, targeting venues that promote music, theater, and other forms of cultural expression. Journalists and newspapers have also been targeted, reflecting an environment where freedom of expression is increasingly under threat.
Critics argue that the interim government, led by Nobel laureate Muhammad Yunus, has failed to take adequate measures to protect citizens and maintain law and order. Allegations have emerged that these acts of violence and arson are not merely spontaneous but may be orchestrated with political motives, particularly to create instability ahead of elections scheduled for February. This context adds another layer of concern, as the attacks on cultural events appear intertwined with broader attempts to manipulate political outcomes, leaving ordinary citizens, artists, and students vulnerable to intimidation and violence.
The cancellation of James’ concert has sparked outrage among fans and cultural commentators alike, who see the attack as a direct assault on the country’s vibrant artistic community. Social media has been flooded with messages of solidarity, with many expressing concern about the growing intolerance toward music and cultural expression in Bangladesh. Cultural activists warn that if such incidents continue unchecked, Bangladesh risks losing a generation of artists and performers who may choose to avoid the country altogether, depriving it of its rich musical and cultural heritage.
For now, the residents of Faridpur and fans of James are left grappling with a mixture of anger, grief, and fear. While authorities continue to investigate the incident, the attack stands as a stark reminder of the dangers facing cultural expression in Bangladesh and the urgent need for stronger protections for artists, performers, and cultural institutions. James’ canceled concert is not just an isolated incident but a symptom of a broader struggle over the soul of the nation’s cultural identity—a struggle that will likely continue to unfold in the coming weeks and months.
As Bangladesh confronts these challenges, voices like Nasreen’s serve as both a warning and a call to action: to safeguard freedom of expression, protect artists, and preserve the country’s rich cultural tapestry in the face of rising extremism. The hope remains that the resilience of its artistic community, coupled with decisive action from authorities, can help prevent such attacks in the future and ensure that music and culture continue to thrive in the country.