Zubeen Garg's Final Journey: The Unspoken Requiem of Assam
The news of Zubeen Garg's death in Singapore came as a profound shock, not just to his fans, but to all of Assam. He was there to perform at the North East Festival, a celebration of the very culture he had helped shape. Yet, in a tragic irony, his final moments were far from home. The grief that followed was immense, a tidal wave of sorrow that swept through the state as his body was brought back to Guwahati. People poured onto the streets, a sea of humanity that broke all previous records, all just to catch one last glimpse of the man who had become more than a singer—he was a symbol, an icon, a part of Assamese identity.
A Glimmer of Hope and Missed Opportunities
One of the most significant influences in Zubeen’s musical journey was his association with the soulful poet Hiren Bhattacharyya (fondly known as Hiru Da). The songs born from this partnership are so deeply moving they transport listeners to another world. While Zubeen’s other songs are also remarkable, for many, his numbers based on Hiru Da’s lyrics hold a special place.
Had Zubeen been fortunate enough to come into contact with one or two more such intellectual and culturally profound personalities, we might have witnessed many more masterpieces, evergreen songs, and magnum opus creations from him. My regret is that despite singing in so many languages and across countless genres, he created very few songs that truly reflected societal concerns or addressed vital issues of Assam’s social life. If he had been nurtured intellectually the way Bhupen Hazarika was—through associations with revolutionary artistes and cultural icons like Jyoti Prasad Agarwala, Bishnu Prasad Rabha, and legendary singer, composer and political activist Hemanga Biswas through IPTA—his music could have taken on an even greater social dimension. Unfortunately, apart from Hiru Da, Zubeen did not find such guiding lights. Instead, he often fell into circles where people lacked intellectual depth and used him only for their personal or business interests.
Rise of Market Economy and a Singer's Exploitation
This exploitation was evident early on. The trend began in the 1990s, soon after Zubeen rose to fame with his first albums Anamika. Around that time, an Assamese infotainment magazine was launched, edited by a music video producer who later became a Rajya Sabha member on a BJP ticket and even a central minister. In its very first issue, the magazine used a studio-washed, postcard-sized color photograph of Zubeen, unrelated to the content or any advertisement—purely as a ploy to draw readers. That marked the beginning of how Zubeen’s image was commercially exploited.
It is important to remember that Zubeen’s rise coincided with India’s entry into the market economy after the economic liberalization reforms of 1991. This shift began to reshape culture and entertainment, creating a trend of producing content based on market demand. Zubeen’s first album came out in 1992, placing him squarely in this new, commercially driven environment.
As his career progressed, his circle of friends evolved, including festival organizer, ‘media mogul’, and journalists. But rather than contributing to his creative growth, most of them used him to serve their business or personal agendas.
A Man of the People
Yet, in stark contrast to these opportunistic associates, Zubeen had a legion of selfless, die-hard fans who adored him unconditionally. This was visible after his demise, when he was brought back from Singapore to Assam. Beyond his magical voice, it was his ability to connect with people across all social strata that made him so beloved.
He possessed a childlike simplicity and was incredibly accessible. Two instances highlight this perfectly: At a marriage party celebrated somewhere in Assam, he was seen spontaneously played a hand drum alongside a local band troupe—a gesture very few artistes of his stature would make. In another instance, in a television show, he was seen playing guitar to accompany a lesser-known female singer during her solo performance—again something rare for an artist of his fame. Such moments showed his humility, accessibility, and simplicity.
Zubeen was also deeply philanthropic, often helping those in need. Unlike many of his contemporaries, he did not shy away from social issues. He fearlessly spoke out against issues like the Citizenship Amendment Act (CAA) and the felling of trees in Dighalipukhuri. However, his political positions were often inconsistent and sometimes contradictory. While he claimed to be a socialist, he also declared that one should not play politics—forgetting that raising one’s voice on social issues itself is a form of politics. This confusion perhaps persisted because, during his time, there were no strong social or cultural movements, nor guiding personalities to help him shape a clear ideological path.
A Musical Pioneer
Zubeen’s contribution to music is unmatched. Apart from singing in Assamese, Hindi and English, he sang in numerous Indian languages and dialects, including Adi, Bhojpuri, Bishnupriya Manipuri, Bodo (Boro), Dimasa, Goalpariya, Kannada, Karbi, Khasi, Malayalam, Marathi, Mising, Nepali, Odia, Punjabi, Sanskrit, Sindhi, Tamil, Telugu, and Tiwa. He also explored almost every genre of Assamese music—Borgeet, Loka Geet, Bihu, Tokari Geet, Deh-Bichar Geet, and more. After Bhupen Hazarika, Zubeen was the only artiste to explore and popularize so many diverse musical traditions.
His songs, with their simple yet profound lyrics, folk elements, and a blend of Eastern and Western melodies, struck a chord with a new generation. He brought a fresh wave to Assamese music, breaking monotony and filling a void that young people were desperately seeking to fill. In his 35-year-long musical journey, he ushered in a new era for Assamese music, becoming a symbol of identity for many.
Despite his flaws and limitations, Zubeen had the courage to openly declare that he believed in no religion, no caste, and no God. This is very significant because he made such a bold statement at a time when the ruling dispensation is spreading hatred on communal lines day in, day out. He even spoke out against Brahminism, something very few artists dared to do. Such boldness was uniquely his.
Zubeen Garg left us too early, and his absence is deeply painful. Now, we have the responsibility to keep his legacy alive. We must archive his works, revisit his songs, and carry forward his passions—his love for trees, for wildlife, and for common people whom he always stood ready to help. This would be the truest tribute to him.