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Friday, July 24, 2026. It was six in the evening when heavy rain lashed Madani Avenue in Dhaka. Water pooled in front of the stage, and many in the crowd were drenched. Yet, no one was leaving. If anything, more people kept arriving.

Among them was 22-year-old Mohammad Alif, who had travelled 109 kilometres from Comilla to see Atif Aslam perform.

“I have been listening to Atif Aslam since I was 10,” Alif told me. “Seeing him perform in person today feels like a dream.”

The moment Atif Aslam took the stage at 8:52 pm, thousands of voices erupted in unison: “Atif! Atif!” For the next two hours, the audience sang along to one hit after another. The rain and the long wait no longer mattered.

For years, young Bangladeshis listened to Pakistani music online. Now they are braving rain, paying premium ticket prices and travelling long distances to see their favourite artists live. What explains the growing appeal?

Unlike Alif, 19-year-old Mushfiqa Jahan, a Jahangirnagar University student, did not get the chance to attend the concert. Her family would not allow her to go, so she followed the event through videos that flooded the internet.

“I regularly listen to Atif Aslam on YouTube,” says Mushfiqa. “His lyrics resonate with my feelings. I really wanted to see him perform in person.”

Alif and Mushfiqa are far from alone. For thousands of young people in Bangladesh, Pakistani music has become a part of their daily playlists. But this fascination did not emerge overnight.

From online playlists to crowded concerts

Pakistani music has not suddenly become popular in Bangladesh. Rather, its popularity has only become more visible in recent years.

For more than a decade, many young Bangladeshis have been listening to Pakistani artists through digital platforms. For much of that time, however, their enthusiasm remained confined to personal playlists and online communities.

That began to change after 2024, as improving diplomatic and cultural ties coincided with a growing number of Pakistani artists coming to Bangladesh for live performances after official exchanges increased.

Direct flights between the two countries resumed after years of suspension in January 2026. One concert after another revealed something that had long existed but was largely invisible: a loyal audience built over years of online listening was finally coming together in person.

The trend became increasingly visible on stage. Atif came to Dhaka for a concert in April 2024. He was back again in November the same year, performed at a university event in December 2025 and, most recently, headlined another major concert on July 24, 2026.

At a press conference in Dhaka on July 23, 2026 Atif Aslam described Bangladesh as his second home. “I have performed all over the world, but nowhere do I receive the kind of response I get from audiences in Bangladesh,” he said.

Atif Aslam is far from the only Pakistani artist attracting audiences in Bangladesh. Rahat Fateh Ali Khan made two concert appearances in Dhaka in December 2024, while the Pakistani band Jal returned to the country after a 14-year hiatus.

In 2025, Aima Baig, Kaavish and Roxen frontman Mustafa Zahid made their Dhaka debuts. Abdul Hannan, who had performed with Atif Aslam in 2024, returned in 2025. Bayaan followed with their first concert in the capital in 2026, while Murtaza Qizilbash is set to make his Bangladesh debut in September this year and Hasan Raheem later this month.

Concerts by artists such as Atif Aslam and Rahat Fateh Ali Khan have evolved into some of Bangladesh’s biggest music events, drawing audiences from across the country. Despite relatively expensive tickets, they remain in strong demand. For many young fans, these concerts have become more than live performances — they are shared cultural experiences built on years of listening to Pakistani music.

Prominent Bangladeshi lyricist and media personality Faisal Rabbikin believes Bangladeshi audiences’ interest in Pakistani artists is nothing new. “Several Pakistani artists have long enjoyed a strong following in Bangladesh,” he says. “When communication between countries becomes easier and diplomatic ties improve, cultural exchange naturally expands. The growing number of concerts by Pakistani artists in Bangladesh is part of that process.”

Mohammed Shoeb, an assistant professor in the Department of Music at the University of Dhaka, shares a similar view. He says Bangladeshis have been listening to Pakistani music, particularly ghazals, for decades.

“Earlier, listeners relied on television and radio,” he says. “Today, young people can easily discover music from different countries on digital platforms and decide for themselves what they like, free from preconceived notions. Digital platforms have made that possible.”

Why do Pakistani artists resonate with Bangladesh’s youth?

For many young Bangladeshis, Coke Studio Pakistan has served as a gateway to Pakistani music. Its fusion of folk traditions, qawwali and contemporary pop has attracted a wide audience on YouTube.

At the same time, streaming platforms have made it easier than ever to discover artists beyond mainstream Bollywood music.

Twenty-four-year-old Marin Amin has been listening to Pakistani music since childhood and has attended several concerts by Rahat Fateh Ali Khan and Atif Aslam in Dhaka. “There’s something different about Pakistani music,” says Marin. “The way they present their music really appeals to me, and I find it easy to connect with it.”

She believes the appeal extends beyond her generation. “It’s just as popular with people younger than us. Sometimes, when I listen to these songs, it feels as though they are telling my own life story.”

According to young Bangladeshi singer Angel Noor, Indian films have also contributed to the popularity of Pakistani music in Bangladesh. Ultimately, however, he believes it is the quality of the music that keeps listeners coming back.

“There’s no reason we shouldn’t listen to Pakistani music. The quality of their songs is excellent,” says Angel.

That influence has also shaped his own work. He says he has tried to blend elements of Pakistani music into his upcoming 12-track album, with Pakistani musicians collaborating on the arrangements. “I’ve tried to give my upcoming 12-track album a Pakistani flavour,” he adds.

Performances, not passports

Mohammed Shoeb believes that, when it comes to music, listeners care more about quality than nationality.

“When people listen to a song, they don’t stop to think whether it is Indian or Pakistani,” he points out. “What matters is the melody, the voice, the lyrics and the way it is presented. Pakistani music has a distinctive quality, and that is why it has built such a strong following among young people in Bangladesh.”

Faisal Rabbikin believes the growing popularity of Pakistani music in Bangladesh reflects more than the success of a handful of artists. It is also the result of expanding cultural exchanges, the rise of digital platforms and the changing musical tastes of young listeners.

“Today’s youth don’t choose music by looking at an artist’s passport,” he says. “They simply decide whether a song is good.” But he’s also quick to add: “Cultural exchanges should never be one-way. Just as Pakistani artists are performing in Bangladesh, Bangladeshi musicians should also have regular opportunities to perform in Pakistan and elsewhere.”

That night on Madani Avenue, some like Mohammad Alif saw a long-held dream come true. After years of listening to Atif Aslam’s music, he watched the singer perform live for the first time. For others like Mushfiqa Jahan, however, the wait continues.

Originally published in Dawn, ICON, August 23rd, 2026