Dipak Kurmi
(The writer can be reached at dipakkurmiglpltd@gmail.com.)
There exists a rare breed of artists whose voices transcend the boundaries of language, culture, and geography to touch the very essence of human emotion. Zubeen Garg was undeniably one such extraordinary soul whose sudden departure from this world on September 19, 2025, has left an irreplaceable void in the hearts of millions across India and beyond. At just 52, the multifaceted artiste who had become synonymous with the cultural identity of modern Assam met an ironic end in a freak scuba diving accident in Singapore, where he had arrived to headline the North East India Festival. The cruel twist of fate saw a man who had spent his entire life giving voice to countless emotions struggle for his final breath beneath the waters of the Singapore Sea.
The news of Zubeen’s untimely death sent shockwaves across the nation, particularly through the Northeast region, where he wasn’t merely a celebrity but a cultural phenomenon who had shaped the artistic consciousness of an entire generation. Despite being rushed to Singapore General Hospital after the diving accident, medical professionals could not revive him, and by 2:30 PM Indian time, the voice that had serenaded millions had fallen silent forever.
Born on November 18, 1972, in Tura, Meghalaya, Zubeen Garg entered the world carrying the artistic DNA that would eventually make him a legend. His father, Mohini Mohon Borthakur, was a magistrate and poet who wrote under the pen name Kapil Thakur, while his mother, Ily Borthakur, was herself a gifted singer. The prophetic nature of his naming after the celebrated conductor Zubin Mehta would become evident as Zubeen orchestrated his own symphony of success across multiple artistic domains. From the tender age of three, he began his musical journey under his mother’s nurturing guidance, displaying an innate talent that would flourish into something truly remarkable.
His musical education was both rigorous and comprehensive, spanning eleven years of tabla training under the tutelage of Pandit Robin Banerjee, which provided him with an unshakeable rhythmic foundation. His exploration of Assamese folk music under Guru Ramani Rai connected him deeply to his cultural roots, while his self-driven curiosity led him to master numerous instruments, including guitar, harmonium, mandolin, and various percussion instruments. This eclectic musical foundation became the bedrock of his unprecedented versatility, allowing him to seamlessly navigate through different genres and languages with authentic ease.
Tragedy struck early in Zubeen’s life when his beloved sister Jongki Borthakur, herself a promising singer and actress, perished in a devastating car accident in 2002. The profound grief from this loss found artistic expression in his deeply moving album “Xixhu”, which served not only as a tribute to his sister’s memory but also as a permanent memorial that touched countless hearts. Throughout these personal struggles, his other sister, Dr Palme Borthakur, remained a constant source of support and strength during his most turbulent periods.
Academic pursuits proved insufficient to contain Zubeen’s restless artistic spirit. After completing his matriculation at Tamulpur Higher Secondary School, he briefly enrolled in B. Borooah College, Guwahati, to pursue science. However, the confines of formal education could not hold him for long, and he courageously abandoned conventional academic paths to dedicate himself entirely to music. This bold decision would prove to be transformative, as his debut Assamese album, “Anamika”, in 1992, exploded onto the regional music scene like a thunderclap, instantly establishing him as a household name.
The successive releases of albums such as “Xapunor Xur” (1992), “Junaki Mon” (1993), “Maya” (1994), and “Asha” (1995) consolidated his position as the undisputed voice of modern Assam. His Bihu album “Ujan Piriti” became a cultural phenomenon, propelling him to become the highest-paid singer in the region by the mid-1990s. These early successes laid the foundation for what would become an extraordinary career spanning multiple decades and touching millions of lives.
Zubeen’s artistic ambitions, however, extended far beyond regional boundaries. In 1995, he made the pivotal decision to relocate to Mumbai, the heart of India’s entertainment industry, determined to establish himself in the highly competitive Hindi music market. His Indipop debut, “Chandni Raat”, marked the beginning of his national journey, followed by albums like “Chanda”, “Shradhaanjali”, “Jalwa”, “Yuhi Kabhi”, “Jadoo”, and “Sparsh”. His contributions to Bollywood films, including “Gaddaar”, “Dil Se”, “Doli Saja Ke Rakhna”, “Fiza”, and “Kaante”, showcased his versatility and adaptability to mainstream Indian cinema.
The defining moment of Zubeen’s national career arrived in 2006 with Anurag Basu’s film “Gangster”, which featured his hauntingly beautiful rendition of “Ya Ali”. This song transcended mere commercial success to become a cultural phenomenon that resonated across South Asia and the Middle East. Its melancholic yet transcendent quality made it a fixture at weddings, political rallies, and intimate moments of solitude alike. The track earned him the Global Indian Film Award for Best Playback Singer and transformed him from a regional star into a nationally recognised artist.
His subsequent Bollywood contributions, including “Dil Tu Hi Bataa” from “Krrish 3” and “Jaane Kya Chahe Man” from “Pyaar Ke Side Effects”, further demonstrated his remarkable ability to adapt to mainstream sensibilities while maintaining his unique artistic identity. Each performance was a testament to his skill in interpreting and delivering songs that could connect with audiences across diverse linguistic and cultural backgrounds.
Despite achieving significant success in Mumbai’s entertainment industry, Zubeen never severed his deep emotional and artistic connections to his roots. For the people of Assam, he represented far more than just a successful entertainer; he was the living embodiment of their cultural heartbeat, their festivals, and their daily aspirations. His foray into Assamese cinema produced memorable performances in films such as “Hiya Diya Niya”, “Daag”, “Kanyadaan”, “Agnishakshi”, “Mon Jaai”, “Rodor Sithi”, “Mission China”, “Kanchanjangha”, “Ratnakar”, “Dr. Bezbaruah 2”, and “Sikar”.
“Mission China”, his ambitious 2017 directorial venture, represented a watershed moment in Assamese cinema, proving that regional films could command blockbuster budgets while drawing substantial audiences. Through this project and others, Zubeen played a crucial role in revitalising the cultural confidence of his home state, demonstrating that local content could compete with national productions in terms of both quality and commercial viability.
His artistic influence extended into Bengali cinema through notable contributions to films like “Sudhu Tumi”, “Mon Niye”, and “Samsara”, showcasing his pan-regional appeal. Perhaps most remarkably, Zubeen’s polyglot abilities enabled him to sing in over 40 languages, including Boro, Karbi, Tiwa, Mising, Nepali, Malayalam, Tamil, Telugu, Marathi, Sindhi, and Sanskrit. This extraordinary linguistic versatility gave him a truly global identity, as each language seemed to carry the same raw emotional resonance that spoke directly to the human spirit rather than merely entertaining the ear.
Beyond his entertainment career, Zubeen emerged as a powerful social conscience and philanthropic force. He established the Kalaguru Artiste Foundation, a charitable organisation dedicated to raising funds for flood victims, providing essential medicines, and supporting various cultural initiatives throughout the Northeast. During the devastating COVID-19 pandemic, he demonstrated extraordinary generosity by offering his own house in Guwahati to be converted into a COVID Care Centre, providing vital medical services to those in need.
His commitment to social causes extended to organising charity football matches to raise funds for various humanitarian efforts. Many of his films carried subtle yet powerful political undertones, with “Kanchanjangha” boldly exposing corruption within the Assam Public Service Commission, demonstrating his willingness to use his platform for social commentary and reform.
Zubeen’s outspoken nature often courted controversy and public debate. As a declared irreligious individual, he made headlines when he symbolically snapped his sacred Brahmin thread during a film shoot, later making provocative statements about religious hierarchies that drew significant criticism and forced him to issue public apologies. His contrarian reputation was further cemented when he argued that Krishna should be viewed as a historical figure rather than a divine entity, prompting the Majuli District Satra Mahasabha to impose a ban on his performances.
However, none of these controversies could silence his voice or diminish his influence. Most significantly, Zubeen emerged as a leading cultural figure during the anti-CAA protests in Assam, where his songs became powerful anthems of resistance and defiance. His voice blended seamlessly with the collective roar of protesters demanding justice and defending their cultural identity, proving that artists can serve as catalysts for social and political change.
Recognition for Zubeen’s contributions came from numerous quarters throughout his career. In 2011, the Assam Convention in Chicago honoured him as Guest Artist of the Year, acknowledging his role in promoting Assamese culture on the global stage. In May 2024, the University of Science and Technology, Meghalaya, awarded him an honorary D. Litt., recognising his multifaceted contributions to arts and culture. His literary works, including poetry collections ‘Xabda Anubhuti’ and ‘Zubeenor Podyo’, earned him the prestigious Seuji-Seuji award in 2017.
In an unprecedented honour for a living artist, a bamboo bridge in Tengapani was named after him, while in 2022, a magnificent 20-foot statue was unveiled in Digboi during the Nazirating Tamuli Tourism Festival, cementing his status as a cultural icon whose influence extended far beyond the realm of entertainment.
In his personal life, Zubeen found stability and partnership with fashion designer Garima Saikia from Golaghat, whom he married in 2002. Their union represented a blend of creativity and mutual support, with the couple frequently appearing together at cultural events as symbols of modern Assamese identity that remained firmly rooted in traditional values while embracing contemporary expressions.
The announcement of Zubeen’s death triggered an unprecedented outpouring of grief across Assam and beyond. Chief Minister Himanta Biswa Sarma’s tribute calling him ‘one of Assam’s favourite sons’ reflected the widespread recognition of his unique ability to speak directly to the collective soul of his people.
For the people of Assam, Zubeen’s death represented far more than the loss of a beloved entertainer; it was the silencing of a voice that had become intricately woven into the fabric of their daily existence. He had been their morning radio companion, their midnight solace, their Bihu celebration soundtrack, their protest rallying cry, their cinematic experience, their poetic inspiration, and their collective conscience. His concerts transcended mere performances to become communal gatherings where people felt both entertained and affirmed in their cultural identity.
Zubeen Garg’s life and career serve as a testament to the transformative power of art to cross linguistic, religious, and political boundaries while remaining deeply rooted in cultural authenticity. His activism demonstrated that artists can serve as powerful agents of social change, using their platforms to advocate for justice and defend the marginalized. His untimely death leaves a silence that seems impossible to fill, yet his artistic legacy has already achieved immortality through the countless albums, films, poems, and acts of social service that have entered the bloodstream of collective memory.
The eternal rockstar of Northeast India will continue to sing through the forests, rivers, and hearts of his people long after his physical departure. Zubeen Garg’s extraordinary journey was never merely about creating songs or making films; it was about embodying and preserving a cultural identity while reminding an entire generation that art can be simultaneously personal and political, intimate and universal. His story stands as enduring proof that some voices never truly fade but instead echo forever through the lives they have touched and transformed.