Aurthohin's comeback bridges the past and future of Bangladesh's band scene

The band's return delighted fans, but will also help younger bands receive much-needed attention

Six years after Cancerer Nishikabya, Aurthohin released their eighth studio album Pheonixer Diary 1 on Dec 28. The long-anticipated comeback has been phenomenally welcomed and appreciated by fans and figures in the music industry.

In 2021, when Sumon, aka Bassbaba, beat cancer and started plucking the strings again after a long break, it was a big deal for the band scene in Bangladesh.

When Sumon stepped on stage for his first concert back at Dhaka Rockfest 2.0, the emphatic crowd reaction felt like seeing the new moon ahead of Eid.

For a moment he was speechless. Then he grabbed the mic and said “Hello, Dhaka”. The crowd went crazy. He told them how much their fans and their love meant to him and explained it had spurred their return. He then turned the mic to the audience and over 7,000 people began singing Oshomapto, as if they were a choir and he was the director. I felt goosebumps everywhere.

From the ABC generation through D-Rockstar, to the younger lo-fi generation, fans of all ages were ecstatic to see Bassbaba work his magic and shed tears as they heard the magic of Epitaph. Whether you find a connection to Odvut Shei Cheleti or peace in Nikrishto, Aurthohin’s recent concerts have covered the entire spectrum of emotion.

The band music scene has seen both short-lived comets and long-lasting stars for the past 20 to 30 years. But only a few bands came, saw, conquered, and then continued their trajectory to earn the status of everlasting legends for the present and the future. Aurthohin is one of them.

Few others have possessed that same resilience and longevity. Some bands, like Road 31, have disappeared after a few promising songs. Others, like Vibe, have a single sparkling album. Their songs still circulate in people's playlists, sombre reminders of potential unrealised. And there are a few that are so underappreciated – like Aftermath and Karnival - that many would not believe that they have been putting out fantastic music for over a decade.

Through Sumon’s guidance, some other underground bands like Artcell, Nemesis, and Arbovirus even reached that same pedestal. His capacity to recognise talent in the industry is essential to ensuring that music lovers discover promising artists. Performing on the same stage as Aurthohin could pave the way to sustained success for many.

The concert at the ICCB Expo Zone demonstrates exactly that. Even in the early hours, the field was more densely packed than a school cafeteria at lunch. This kind of exposure is only possible with the tremendous name value of Aurthohin.

As piracy dwindles and organic growth through social media deadens, the return of Aurthohin is nothing short of rain in the desert, both for their audience, who have been deprived of their majestic on-stage presence and for underrated musicians, who they can support and showcase.

Cancer could not beat Sumon’s Aurthohin. Their journey in Bangladeshi music is still Oshomapto and, it is to be hoped, will continue far into the future.

This article was written for Stripe, bdnews24.com's special publication with a focus on culture and society from a youth perspective.