Dipak Kurmi
The verdant landscapes of Assam have once again surrendered to the rhythmic embrace of spring, where rain-washed evergreens gleam with a distinct emerald glow under the soft vernal light of the Earth. As the nascent blossoms begin to sway within the fertile gardens of youth, the unmistakable call of the cuckoo heralds the arrival of a season that usually pulses with unbridled joy and cultural rebirth. This is the time when the very air of the Brahmaputra valley reverberates with the resounding rhythm of the dhol, and cherubic souls prepare to welcome the new year to the piercing, soulful tune of the pepa. Yet, as the Rongali Bihu of 2026 unfolds, a palpable sense of melancholic croon prevails over the festivities, replacing the usual exuberance with the weight of an unbearable loss that transcends mere words. The tragedy that struck on 19 September 2025 remains etched in the collective consciousness as one of the darkest chapters in the history of the state, a moment where destiny’s untimely ambush snatched away a figure who was more than just an artist. The misfortune of that day was as unpredictable as fate itself, leaving a void that the people of Assam find impossible to navigate without a sense of profound mourning and silent disbelief.
Bohag or Rongali Bihu is a celebration that marks the genesis of a new agricultural cycle, an ancient tradition that has evolved over centuries from simple rural rites to a grand socio-cultural phenomenon that defines the Assamese identity. In its modern avatar, the festival moved far beyond the traditional frontiers of village squares to become star-studded showcases that involved the most renowned exponents of the performing arts. These celebrations became massive platforms for finesse in dance, music, and dramatics, enthralling massive audiences across both rural and urban landscapes with a sophistication that matched global standards. Music, in particular, has always been the salient force infusing additional joy into the festive spirit, a legacy built by luminaries such as Dr. Bhupen Hazarika and Khagen Mahanta. These titans of the industry set the stage for future generations, transforming conventional exhibitions into massive public spectacles that mirrored the energy of international concerts, making high-quality performances accessible to the common man outside the confines of paid bookings.
It was within this evolving cultural tapestry during the mid-1990s that a young face rose to unprecedented fame, armed with a sprightly voice and an intriguing personality that defied the rigid norms of the era. This man was Zubeen Garg, a cornerstone of a new epoch in Assamese music who provided a breath of freshness that instantly captured the hearts of the masses through his sheer authenticity. He won the people over not just with his vocal range but also with his candid nature, gaining him the enduring eponym of "heartthrob," a title that he would carry with both grace and a touch of rebellion for decades. As the years progressed, Zubeen Garg transitioned from a rising star to a household name, becoming the most highly sought-after figure in every cultural programme across the Northeast. The craze surrounding him was so intense that the arrival of the seasonal springtide showers inevitably brought with it a recurring question among his millions of admirers regarding the specific date and time he would grace the local Bihu stage.
On the nights of his performances, the excitement was palpable as crowds would saunter along in massive waves, following the singer’s trail from one Bihu pandal to another just to catch a fleeting glimpse of the superstar. The ambience at these venues was incomparable; audiences of all ages and genders would cast aside their inhibitions, going wild at the sight of the man who had become Assam’s greatest rock star. His presence was not merely about the music but about the entire experience, including his unsanctioned promotions of Assamese films and his frequent, elfish acts that spoke of a deep-seated innocence. While his candid nature often led to controversies that dominated media headlines, it only served to deepen the bond between the artist and a public that saw him as a reflection of their own unfiltered aspirations. He was a man who lived his life in the open, making the headlines of every media house not through calculated PR, but through a raw and honest engagement with the world around him.
The sheer breadth of Zubeen Garg’s body of work is staggering, encompassing a vast range of genres that redefined the boundaries of the state’s musical creativity and influenced the entire nation. From soul-stirring romantic melodies to evocative compositions that touched upon social themes, he was a master of both Bollywood numbers and peppy folk tunes that resonated with the common man. His unabashed experiments with modern techniques and electronic elements revolutionised the domain of the state's musical creativity, making the traditional contemporary without losing its essential soul. Gatherings at Bihu pandals would wait in breathless anticipation for him to pull off dazzling shows featuring iconic tracks like Anamika, Omanihkha, and Anuradha. His versatility was evident as he pivoted from the haunting depth of Din Jwole Rati Jwole to the national acclaim of Ya Ali and Dil Tu Hi Bata, ensuring that his voice echoed from the hills of Assam to the streets of Mumbai.
Yet, he never strayed far from his roots, ensuring that the rhythms of unforgettably catchy Bihu tracks like Nahor, Moi Long Moi Long, and Bati Bhorai Sira Khabi remained the heartbeat of the celebration. A significant portion of his legacy is also tied to the VCD era of the Assam music industry, a period stretching from the late 1990s to the mid-2000s that transformed the cultural-commercial landscape. During this time, the state’s movie industry shifted toward making low-budget cinema to sustain itself economically, releasing movies on Video Compact Discs for direct home viewing. This era birthed a new trend where releases were strategically timed with Bihu, commercialising the tradition while simultaneously elevating its grandeur among the younger generation. Zubeen Garg stood tall as the torchbearer of this movement, contributing memorable musical scores that defined the childhoods of many and provided a necessary economic lifeline to the local artistic community.
Even today, for the Assamese people, the celebration of Bihu is considered incomplete without the deep-seated nostalgia triggered by the rock star’s numbers from legendary cassette albums like Jonbai, Anjaana, and Janmoni. These works provided the soundtrack to a generation, bridging the gap between the traditional pastoral roots of the festival and the modern, media-driven world that the youth were beginning to inhabit. For the people of the state, Bihu is not just a mere calendar festival; it involves the holistic celebration of nature’s bounty and the inherent unpredictability of life itself. Zubeen Garg was viewed as the soul of this festival because his personal philosophy mirrored the transitions of the seasons—wild, passionate, and fiercely independent. He passionately advocated for a fearless life unshackled from the constraints of providence and the fear of consequences, urging his followers to explore the innumerable opportunities that this one life offers.
He personified this thought through his own multi-faceted endeavours as a singer, composer, filmmaker, and social activist who never shied away from standing up for his people. His vigour was often compared to the storm Bordoisila, a powerful wind that sweeps across the plains of Assam, leaving a lasting impact on society, politics, culture, and art. By deviating from social norms that produced discrimination along varied culturally defined lines, he became a symbol of unity and progress for a fractured society. It is this cordial and inspiring character that led the youth of Assam to look up to him with immense affection and respect, attributing the suffix "da" to his name. Referring to him as Zubeen da was not just a linguistic habit but a recognition of his role as the ultimate elder brother who protected and represented the spirit of the land with unmatched zeal.
The reality that the days of eagerly waiting for Zubeen’s onstage performances at Bihu pandals and in front of the television screen are over is a truth that many find too heavy to bear. While the breeze still wafts in with the fragrance of newly flowering blooms, there looms a gloom over the valley, as the empyrean feels strangely empty without its brightest and most defiant star. The silence where his voice should be is the loudest part of this year's Bihu, serving as a reminder of the fragility of life and the permanence of true artistic legacy. Nevertheless, Zubeen Garg shall remain immortalised through the staggering legacy of his creations and his tireless aspirations for the betterment of humanity and the preservation of Assamese culture. His imprint on the soil and soul of Assam would never cease to exist, as in every coming generation, his very being shall for eternity be extolled and venerated as the voice that gave the people their own unique rhythm.
(the writer can be reached at dipakkurmiglpltd@gmail.com)
