Coke Studio Bangla concert: Could music save a logistical nightmare?

I found myself amidst the swirl of lights and beats at the Army Stadium yesterday, attending the highly-anticipated, "Coke Studio Bangla Live 2.0". The air, however, was thick with overcrowdedness and controversy, making my overall experience a blend of musical highs and critical lows.

Even as a journalist, my decision to attend wasn't without a sense of conflict. The call for boycotting the event resonated strongly on social media, with many urging a stance against corporations complicit in the Israeli violation of Palestinian rights. Coca-Cola, amongst other giants, faced scrutiny, sparking a dialogue about the ethics of corporate partnerships in tumultuous times.

My experience of the night started to take shape as soon as I arrived at gate-3 (designated media gate). I found a locked gate and a bunch of police officials who had no clue what was going on. As I inquired with multiple organising team members, they echoed the same clueless attitude. Multiple gates and a game of cat and mouse later, I found myself at gate-2, surrounded by a sea of people clamoring for entry. The struggle was magnified as I was caught in a surge of people, and my tiny body got squeezed amongst the male crowd; screaming at the security to tackle the situation didn't do anything. After putting up a physical fight, I finally was able to make my way into the stadium, and upon asking one member of the organising team regarding the mismanagement, he replied, "We didn't expect this many people; we are at our full capacity and lacking enough manpower to handle it."

After sharing my experience with another, he responded, "'These' things often happen at Bangladeshi concerts, it's pretty common."

As a distressing episode of PTSD was triggered, I feel it's important to reassess the priorities of such events. In any gathering, the paramount concern should be security, prioritising the well-being of attendees before the entertainment aspect takes precedence.

A witness shared a harrowing account of the entry turmoil, describing a lack of proper arrangements leading to injuries. "While I was entering the gate, it was chaos. One woman got pushed and fell so hard that she cut her jaw, and it was blood all over. She was taken to a nearby hospital."

The musical event began to unravel its pre-show at 3:30 pm, showcasing the talents of private university students handpicked through the Coke Studio campaign. Subsequently, the emerging band Hatirpool Sessions graced the stage, paving the way for the much-anticipated main lineup of Coke Studio Bangla. From "Nasek Nasek's" ethereal tunes to the explosive beats of MC Mugz, the audience was taken on a rollercoaster of musical genres.

Shayan Chowdhury Arnob and Ripon Kumar Sarkar (Boga) infused emotional resonance with "Chiltey Roud", setting the stage for a transition from soothing hues to vibrant tones with "Nahubo Nahubo" by Animes Roy and Sohana, complemented by the mesmerising fire performance of Dragon House Dhaka. The energy soared with Jalali Set's "Bhober Pagol". Bappa Mazumder presented renditions of "Joto Dure Jao" and "Tumi Amar Bayanno Tash", followed by a performance from Fuad Al Muqtadir and Tashfee.

However, the overflow of the Army Stadium, denying people the minimum space to stand, became a significant drawback. Reportedly, many people entered without tickets, resulting in an overcrowded venue. "It's highly disorganised. There's no discipline in this year's arrangement. From the seating to the standing area, it was excessively crowded," lamented one participant. Another participant captured the sentiment, "I am waiting for Deora; I will leave as soon as it's performed." After each song, there was a massive gap before the next performance, which led the audience to become more restless.

The disarray outside mirrored the dissonance within the concert grounds throughout the event. One Liana Affri Shorna shared, "The so-called three-step frisking was just talk! Youngsters were sneaking in with cigarettes, and I saw drinks being consumed openly. No one seemed to care about the smell of weed. In such a situation, it was unbearable to continue with the family. As a result, we had to leave the stadium only after enjoying a few performances."

Momotaz Begum and Mizan Rahman ignited the stage with their fiery performance of "Prarthona", captivating the audience. Elita Karim's soothing rendition of "Ghum Ghum" was nothing short of a moment of tranquillity, followed by Arnob and Sunidhi Nayak's enchanting performance of "Shondhatara", which added further moments of brilliance to the event.

Artcell, the much-awaited act, took the stage almost at 11 pm, opening with "Dukkho Bilash" and ending their performance with "Oniket Prantor" after a 15-minute stint, significantly longer than other performers. The tribute to Ayub Bachchu by Emon Chowdhury with "Shei Tumi Keno Eto Ochena Hole" and "Hashte Dekho Gaite Dekho" added a poignant touch. The atmosphere in the auditorium shifted to a joyous mood as Aleya Begum captivated the audience with her performance of "Kotha Koiyo Na".

The night reached its pinnacle with the enchanting performance of "Bulbuli" by Rituraj Baidya and Sanzida Mahmood Nandita, featuring contemporary dance groups. The stadium was filled with the echoes of Bengali Ghazal, providing a visual and auditory spectacle.

As the clock approached midnight, anticipation peaked for Pritom Hasan's live rendition of "Deora", fulfilling the expectations of the remaining audience.

It was reported that the dispute between the Lalon band and Coke Studio Bangla was resolved on Thursday, and the band confirmed their participation in the event. However, Lalon didn't ultimately take the stage at last night's musical event.

Amidst the echoes of the Gaza horrors and the internal dilemma of attending such an event, a counter-argument emerged. The harsh reality of life, with its demands for meals, happiness, and work, persisted even as the world faced tragedies. The question lingered – how impactful could skipping this one concert be in the grand scheme of things?

It's crucial that we believe in our collective power, which is undeniable, particularly when we control our spendings on these conglomerates complicit in the Israeli violation of Palestinian rights. In the face of genocide, we must act, regardless of our individual feelings of insignificance.

In reflection, the concert emerged as a paradoxical experience—an evening of musical brilliance overshadowed by the shadows of controversy and logistical challenges. The audience, caught in the crossfire of a cultural celebration and global concerns, departed with a medley of emotions, leaving the debate on the ethics of attending such events alive in the aftermath of a night filled with highs and lows.