The night Dhaka vibed with our very own kings of pop
Fuad Almuqtadir, Habib Wahid and Pritom Hasan turned nostalgia into a collective celebration as generations of Bangladeshi pop music came alive through roaring sing-alongs and shared energy
Even if someone considers themselves only a casual listener of Bangladeshi music, chances are Fuad Almuqtadir and Habib Wahid's sound has already crossed their path. Their music has transcended generations, from TV commercials to full-fledged concert stages becoming one of those rare cultural threads that feels familiar even before you can name it.
At the Let's Vibe presents "Own Your Story" concert held at Courtside on Madani Avenue on Saturday, that familiarity turned into something collective, loud and deeply shared. And yes, it wasn't just about the icons of the past, but also about arguably the biggest Bangladeshi popstar of today as Pritom Hasan energised the audience just as much as the stalwarts.
When Fuad Almuqtadir stepped on stage with Fuad & Friends, the venue erupted immediately. He opened with his Coke Studio Bangla 'Dewana' from Coke Studio Bangla, joined by Tashfee and the response was instant and overwhelming. The crowd did not just listen, they sang along in full voice, almost as if the song had already lived in them long before the concert.
Keep updated, follow The Business Standard's Google news channel
Around the same segment, memories of Fuad's OG era resurfaced strongly, especially his tracks from 'Bonno' and 'Variation no 25'. Bonno, a song from almost two decades ago, still carried a strong association with that period of Bangladeshi pop evolution in the 2000s. The crowd's reaction proved that clearly. People of different ages sang together, showing how deeply these tracks have stayed embedded in our memories.
That connection became even clearer when "Tumi ki shara dibe," released back in 2009, began. The venue erupted into loud sing-alongs, and the energy did not feel reduced by time at all. It felt renewed.
The emotional peak of that segment extended further when Tasnim Anika performed "Jatrabala," originally popularised by Mila. The performance transformed into a crowd-driven moment, with the audience responding to every line and beat. It was not just nostalgia, but active participation in something they clearly still love.
And no guesses for the track with which Fuad concluded his set–with his iconic Nitol Paye where the bulk of the vocal duties rested with the packed audience as they sang every line at the top of their lungs.
Before Fuad's act, Firoze Jong and Ankan had already set a strong foundation for the night. Their performances, including tracks like "Beatles" and "Half glass Carew," drew loud reactions from the audience. The crowd was responsive, energetic, and fully tuned into the shifting moods of the stage, showing that the concert was designed as a layered experience rather than a single-artist showcase.
When Pritom Hasan took the stage, the energy changed once again, becoming sharper and more youthful. He opened with "Jadukor," immediately pulling the audience into a faster rhythm.
His performance of "Khoka" stood out not only for its musicality but also for its timing. Coming just before Mother's Day, the song's humorous take on maternal intuition turned into a shared moment between the artist and the audience. Lines like "Tai to ma bolechilo" were shouted back with laughter and recognition, turning the song into something both entertaining and oddly emotional.
Pritom's momentum continued with "Deora," which triggered one of the loudest crowd responses of the night. The energy in the venue noticeably lifted, with audiences matching his pace line by line. "Local bus" followed with similar intensity, keeping the crowd fully engaged in a continuous wave of sound and movement.
One of the most memorable performances of his set came with "Lichur Bagane" from the film "Taandob," where even Pritom joined in parts originally performed by Xefer Rahman. That moment pushed the crowd into full excitement, blurring the line between stage and audience.
If the night had a sense of legacy, it was most visible when Habib Wahid took the stage. His presence carried a different kind of weight, one that reflected his role in shaping modern Bangladeshi pop music since the early 2000s. Known for blending folk roots with electronic and contemporary production, Habib's influence was immediately visible in the audience's reaction.
He opened with "Din Gelo," and the response was instant. The crowd recognised him not just as a performer but as a defining figure in their musical upbringing. Songs like "Prithibir joto shukh," "Ami tomar moner bhitor," and "Maya lagaise" followed, each met with strong sing-alongs and emotional familiarity. When he described "Maya lagaise" as a song of the people, the audience echoed it naturally, almost as if confirming the statement.
As the set continued, tracks like "Bhalobashbo re," "Beni khuley," and "Krishno" elevated the atmosphere further. The crowd's reaction to "Krishno," in particular, stood out with its intensity, showing how deeply the song still resonates across digital and live spaces.
By the time he reached "Agey ki shundor din kataitam" and finally "Mohajadu," the audience was fully synchronised with the performance, clapping, singing and moving as one.
Throughout the entire night, what stood out most was not just the lineup, but the crowd itself. Every artist was met with participation rather than silence. The audience did not simply observe; they completed the performances. "Own Your Story" became more than a concert title in that sense.
