When the Pakistani forces were rampaging through the Bangla population in what was then East Pakistan, the people found hope and inspiration in the ‘resistance’ music that led them through the ‘Liberation’ struggle. Decades later, when the nation, led by its restless youth, revolted against political corruption and abuse of power, in July 2024, it was again this brand of music, in its modernist manifestations, that kept them inspired during the tumult. As Bangladesh prepares for yet another political transition, this brand of music now faces challenge from a new socio-political reality – the orthodoxy of Islamist forces.
Home and text page images: Stills from Muktir Gaan
Banner image: A group of rappers. Photo credit: The Daily Star
Historically, music has been a powerful medium for social and political change in Bangladesh – from the folk songs of the 1971 Liberation War, such as “Muktir Gaan” (The Song of Freedom), to contemporary rap and protest music.
During the July Uprising of 2024, artists like Hossain Shimul, “Gold Cube,” and Scarecrow played a pivotal role in mobilising public sentiment. Shimul’s track, “Awaz Utha” (Raise Your Voice), became an anthem of resistance, leading to his arrest.
At the same time, Gold Cube and Scarecrow’s “Desh Shongshar” (Reforming the Nation) incorporated excerpts from Bangabandhu Sheikh Mujibur Rahman’s historic speeches, further framing the revolution as a struggle for dignity and recognition rather than a mere demand for material redistribution.
With revolutionary songs resonating culturally and politically, music played a crucial role in transforming the July Uprising into a profound revolutionary moment, uniting diverse groups under a shared vision of democratic renewal.
Despite music’s unifying influence during the uprising, a year later, Islamist groups are actively targeting social and cultural spaces to impose a specific religious ideology. This situation creates a profound paradox, pitting the idea of an inclusive society against a theological one.
Bangladesh Jamaat-e-Islami, for instance, has called for appointing religious teachers instead of dance teachers in primary schools. In a statement, the party’s Secretary General, Mia Golam Parwar, contended that “there are no expert teachers in Islamic and moral education in government primary schools. As a result, despite a rich syllabus, students are being deprived of religious education, which has become a contributing factor to the decline of the country's social and moral values.”
Parwar added that it is “unacceptable to appoint music and dance teachers without appointing religious teachers” and that “music or dance (including singing and playing) should not be a compulsory subject for students.”
Additionally, the Hefazat-e-Islam Bangladesh has voiced its anger over a new gazette published by the Ministry of Primary and Mass Education, labelling it an “anti-Islamic agenda” for the recruitment of music teachers.
In early September, the Hefazat-e-Islam Amir Allama Muhibbullah Babunagari and Secretary General Allama Sajedur Rahman warned of a mass movement if the gazette is not immediately cancelled and rules for recruiting religious teachers, rather than music teachers, are not established. The Hefazat leaders contended that Islam prohibits the use of musical instruments.
Similarly, Dr Mizanur Rahman Azhari, a popular Islamic scholar, has condemned the announcement of hiring music teachers in primary schools while ignoring the demand for Islamic religion teachers.
Since the 2024 political change, the number of music concerts in Bangladesh has reportedly decreased, a trend likely attributed to the political instability following the July Uprising. An interim government currently governs the country, and various political factions, including hardline Islamist groups, are vying for power.
This has created a social climate less hospitable to public gatherings and cultural events, such as concerts.
Moreover, on 29 August 2025, Banik Barta reported that sales of musical instruments had dropped by more than 50 percent.
Shankar Pait, owner of New Sangeetha, a musical instrument retailer, claimed that sales had declined by approximately 70 percent compared to pre-pandemic levels. “Sales are almost non-existent now, and we are barely making ends meet. Business had been declining since the COVID-19 pandemic. The situation has now become even more difficult. Where before we had to deal with crowds of buyers, now, even though the shops are open day after day, there are almost no sales,” Pait remarked
While resistance music, as a tradition since the 1971 liberation war, served as a key medium of resistance in the 2024 uprising, this culture of music will be in peril as Islamic groups tighten their grip over the Bangladeshi society.
Role of music in 1971
One of the many elements that instilled nationalistic fervour in the hearts of the people of East Pakistan during the 1971 war was the power of a musical experience. Music of patriotism and liberation was composed and sung not only by urban artists but also by ordinary people. The songs disseminated stories of the Liberation Army’s bravery across the land and instilled hope for victory.
The wave of inspiration also reached neighbouring West Bengal, where musicians, artists, and lyricists contributed to the rich and voluminous corpus of liberation songs, known as “Mukti Gaan” in Bangla.
Musicians on a global scale protested the harrowing conditions of the war victims and refugees. A prime example is the famous “Concert for Bangladesh,” held in August 1971 at Madison Square Garden in New York. The concert brought together Bob Dylan, George Harrison, and Ringo Starr from the English rock band The Beatles, along with Indian musicians Pandit Ravi Shankar and Ali Akbar Khan.
In addition, Lata Mangeshkar also performed at musical events across India to raise funds for refugees who had crossed into India from Bangladesh during the war.
Three organisations played a crucial role in popularising patriotic, inspirational songs as a valuable tool of war. The Swadhin Bangla Betar Kendro, a clandestine radio station, broadcast this music of liberation. The Bangladesh Mukti Sangrami Shilpi Sangstha, a troupe of musicians, travelled to training and refugee camps to boost the revolutionary spirit.
Finally, Akashvani Kolkata – the All India Radio chapter in Calcutta - played a supporting role by broadcasting liberation songs to emphasise the interests of the people of Bangladesh.
‘Resistance music’ in Bangladesh in recent times
The language and pattern of music have also changed over time. In Bangladesh, alongside classical songs, rap music has evolved from a niche genre into a potent form of political expression, with many artists using their lyrics to directly critique corruption, inequality, and social issues.
Some notable tracks provide a deeper understanding of how conscious the rappers in Bangladesh are in utilising their art to highlight the critical problems of their society.
One of the most powerful examples of political rap in Bangladesh is Shaan’s song “Gorib” (2014), which translates to “Poor.” The song addresses the vast disparity between the rich and the poor, highlighting the struggles faced by marginalised communities. In this track, Shaan raps about the harsh realities of poverty, unemployment, and the political system, calling for the addressing of these pressing issues.
The repeated refrain, “Ei Gorib'er deshe, manush korbe ki?” (What will people do in this poor country?), serves as a rhetorical question that challenges the listener to reflect on the systemic inequalities in Bangladesh. Through this song, Shaan not only critiques economic disparities but also highlights the lack of governmental accountability in tackling poverty.
Another notable track is Aarong’s “Bichar” (2016), in which the rapper’s lyrics dissect the corruption and lack of justice within Bangladesh's legal and political systems. Aarong critiques the judiciary’s role in enabling systemic corruption, pointing out how the rich and powerful often evade punishment while the poor suffer under an unjust legal system.
The line “Bichar hoye na, ar jodi hoy, taile thik hoy” (There is no justice, and even when there is, it’s skewed) starkly calls out the failures of the justice system, portraying it as a tool for the elite rather than a means of true social justice. This song directly addresses the frustration many Bangladeshis feel about the ineffectiveness and lack of fairness in the legal system, particularly in cases involving corruption or political influence.
Image: The Warfaze troupe. Photo Credit: Moharaj
Furthermore, Warfaze’s “Amra Torun” (2017) serves as an anthem of defiance, calling on the youth to rise against oppression. The song explores the theme of political apathy and the importance of youth involvement in driving change. Warfaze urges young people not to be complacent and to act against the country’s rampant corruption.
The track empowers its listeners by reminding them that they have the power to challenge the status quo and demand a better future. The lyrics “Torun jati ar pariborton er dhol, jagate chao, jonmo pore” (The youth is the drum of change, wake up, change after birth) encourage the younger generation to use their voices to push for reform and not to let political stagnation define their future.
Another crucial song in this context is Roxen’s “Shesh Kotha” (2019), in which the rapper reflects on the societal pressures and restrictions on personal freedoms in Bangladesh. The song highlights issues like censorship, media suppression, and the limitations on free speech, with Roxen rapping, “Amar kotha shune, shobar kotha shuno na” (Listen to my words, but don’t listen to everyone else’s).
In this musical, Roxen addresses the limits placed on expression, symbolising the struggle for free speech in a country where the government's control over media and speech is a stark reality. The song acts as a critique of the restrictions on personal freedom and the need for greater political expression in Bangladesh.
Thus, the underground rap scene in Bangladesh became a prominent space for marginalised voices.
While mainstream political discourse may often overlook or silence dissenting opinions, rap music provided a platform where alternative narratives could thrive. These artists used their music not only to entertain but also to expose the deep-rooted issues in their society – from systemic corruption and social inequality to the lack of freedom of expression.
Music in the July Uprising
The July Uprising of 2024 marked a significant moment in Bangladesh’s political landscape, characterised by widespread protests and public outcry against corruption, economic inequality, and government oppression. As the movement gained momentum, music emerged as a powerful tool for resistance, mobilising people and amplifying the voices of those advocating change.
Image: Collage of George Harrison's 1971 concert ad, Photo credit: Billboard; and the Dalchhut band performing at a 2007 concert. Photo credit: Mahmudul Karim Farsad
From street performances to viral online tracks, music played a pivotal role in shaping the narrative of the uprising and galvanising the masses in their fight for justice and reform.
A notable example of music’s role in the July Uprising was the surge of politically-charged rap music. Artists from across Bangladesh, particularly those involved in the underground rap scene, became vocal participants in the protests. Rappers like Shaan, Aaron, and Warfaze, who had long used their music to address societal issues, became key figures in the uprising, offering soundtracks to the struggle and enabling the youth to use such music as a means of expression.
One of the most impactful songs during the July Uprising was Shezan’s “Kothao Ko” (2024), which quickly became an anthem for the protestors. The track, which critiqued government corruption and called for the end of political dynasties, resonated deeply with young people who felt disconnected from a political system that failed to address their needs.
With lyrics like “Dhorbo na ar ami shob jagai, shorkarer gari uthe jabe ni” (I will not sit idle, the government's car will not move), the song became a rallying cry for those seeking accountability and transparency. The aggressive beats and powerful delivery matched the energy of the protests, making it a soundtrack to the youth-led movement.
Another notable song that captured the spirit of resistance was Aarong’s “Chor” (2024), which directly addressed the rampant corruption that had fueled public disillusionment. The song’s poignant lyrics, “Chor shorkar, chor gulo” (Thief government, the thieves), painted a vivid picture of a nation where the ruling elite operated with impunity, enriching themselves, even as most of the population suffered.
Aarong’s raw, no-holds-barred delivery conveyed the anger and frustration felt by the masses. During protests, people frequently played the song on loudspeakers and marched through the streets, their voices echoing Aarong’s condemnation of the political establishment.
The significance of such ‘resistance’ music during the July Uprising extended beyond the underground rap scene.
Roxen, known for his poignant pop and rock tracks, released “Shor” (2024), a track that spoke to the silencing of dissent in Bangladesh. The song highlighted the government’s crackdown on journalists, activists, and ordinary citizens who had spoken out against the regime.
With lyrics like “Ami shunbo na, shobai chup” (I will not listen, everyone is silent), Roxen captured the sense of oppression felt by many Bangladeshis, especially in the face of media censorship and governmental control over public discourse.
The track became a symbol of resistance to the silencing of voices in the country, motivating people to speak up against the tyranny of the political system.
Image: List of popular music during the July uprising
Music hits an ‘Islamic’ roadblock’
Despite a rich history where music served as a crucial form of political resistance — even playing a key role in the recent transition — its existence is now at a pivotal moment. A paradox has emerged: while music was a tool for democratic struggle, it now faces significant challenges from Islamist groups advocating for a theocratic society.
Groups like Bangladesh Jamaat-e-Islami and Hefazat-e-Islam have explicitly demanded the removal of music and dance education from schools.
Targeted actions against cultural spaces have escalated since the uprising. Reports show a sharp decline in concert attendance and sales of musical instruments. There are reports of increasing local bans, such as the reported music prohibition at events in Chiksa village, Sunamganj, in August 2024.
For artists, this situation is dire. Sufi singer Jamal noted that while the last decade and a half has been difficult, “after August 5, things have deteriorated significantly.”
The pressure is also being felt by spiritual institutions. Sufi shrines across the country are facing threats from Islamists who deem singing and dancing “un-Islamic,” leading some, like a shrine in Mymensingh, to drop devotional music. Similarly, thousands demonstrated in Sylhet, demanding a ban on music at the Shrine of Hazrat Shah Poran, terming the arrangement a ‘Bidat’ (activity against Islam).
Image: Baul groups performing. Photo credit: UNESCO
Baul minstrels are also alleging a rise in fundamentalist threats against their performances since the fall of the Sheikh Hasina government.
The surge in such religiously-motivated campaigns will threaten the legacy and role of the popular music culture, particularly of ‘resistance music,’ in this country. However, it is worth remembering that music has been, and continues to be, a crucial form of resistance in Bangladesh.
Albeit these campaigns against music remain nascent in scale, it would be difficult to ban music from Bangladeshi society, caught as it is between a legacy of democratic struggle and the pressures of emerging religious and social conservatism.
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