It was a cosy affair and had more of an "ashor" feel; music enthusiasts huddled on the floor surrounding the artiste and the instrumentalists.

Richard Kishore on guitar, Rabi on tabla, Nikhilesh on keyboard, Alam on percussion and Jalal on flute provided "sangat" to the vocalist.

Barua, a 'Sangeet Visharad' degree holder (from Gandharva Mahavidyalaya, India), has been teaching classical music at Chhayanat since 1998. Considering his background, Barua's flair for Nazrul Sangeet and semi-classical forms like thumri, is understandable.

The artiste started his performance with a Nazrul Sangeet, Kholo khologo duaar. Renditions of Kar banshori bajey, Borosha oi elo borosha and Amar sampan jatri na loy (in bhatiali style) gave the audience a taste of diversity in Nazrul songs.

Barua then moved on to adhunik songs with Sharadin tomaye bhebey. The artiste turned out to be an ardent fan of Niaz Mohammad Chowdhury whose songs attained much popularity in the '80s. Barua said, "I make it a point to sing Niaz bhai's songs at every programme." Renditions of Aaj ei brishtir kanna and Ek phonta bish aaj amar tiyash received rounds of applause from the rapt audience. A Nazrul song with the same feel -- Ami pothomanjori -- followed.

After performing songs of Manna Dey and Anup Jalota -- Aaj nisheethey kachhei thako and Jiboner jalshaghorey respectively -- Barua delighted the audience with all-time favourite S.D Burman numbers Borney gondhey chhondey geetitey, Nitol paye rinik jhinik, Tumi eshechhiley porshu and Ke jashrey bhatigang baiyya.

The versatile singer also rendered a Mehdi Hasan ghazal, Aye duniya kya tujhse kahun and another Niaz Mohammad song, Dukkho amar parini ekhono tomakey bojhatey.

The evening wrapped up with Barua's performance of a Nazrul song -- Anjoli loho mor -- blended with a thumri and Hason Raja song -- Nisha laagilo rey -- fused with raga bhairavi. The latter, according to Barua, was "an effort to distinguish the bond between the 'raw' or 'earthy' and the 'most evolved' or 'finest' forms of music."

Flutist Jalal deserves a special mention. The instrumentalist's authority on flute and spontaneity were lauded by the audience.