Concert experience in Dhaka: Are we ready for international artists yet?

Dhaka's music scene is pulsating stronger than ever with a newfound energy. During the pandemic, the curtain fell on live concerts; however, the lights are turned back on, and the stages are lively again. Local and International artists are gracing our stages once more. From the resurrection of 'Black' to the coming of South Asian heartthrob Atif Aslam, the city's calendar is bursting with concerts. But amidst the flashing lights and booming music, one question remains: Are we ready to host international artists?

The answer, unfortunately, is a resounding 'maybe.' 

It's evident in international concerts worldwide that hosting international artists presents a chance to elevate not only your cultural standing by showcasing local talent as opening acts but also a way to attract tourism. For instance, Singapore's economy was single handedly boosted by a surge in tourism activity due to concerts by British rock band Coldplay and American pop star Taylor Swift, with over half of the audience flying from abroad.

However, in Bangladesh, things need to be corrected from the start. The controversy surrounding opening acts has been ongoing, with complaints of giving them too much time and bringing the promised international artists for 20 minutes to cancel local artists' slots straight-up.

Then comes the endless pit of complaints regarding organizers. With the recent surge in international concerts, the pre-existing problems that plagued Dhaka's local shows have gotten more exposure. From ticketing to management, it is, more often than not, a mess.

While the local shows are within affordable range, ticketing is a predatory game for international artists– where unreasonable price hikes are met with hidden charges. Further failing to justify the prices, the organizers do not offer you management better as many times as the prices are compared to local shows. Granted, the management in international shows is indeed better than the local shows– however, stepping back to see the overall state of things, it would be more fitting to say the management is just less bad. 

There are only so many venues, if not none, made and structured with hosting a concert in mind. And in the venues that organizers do choose to make do, disorganization reigns supreme. Even distribution in entry gates is hardly maintained if planned to begin with. The queues become crowds and, soon enough, human hydraulic machines. Reports of harassment and injury are imminent after each concert; in most cases, the victim is a woman. The lack of robust safety protocols has become why you're gambling on your safety whenever you go to a concert.

Now that you've finally made it inside, the venues are no less a battleground. Your usual local greedy organizer has sold tickets way over what the venue can hold, giving way to overcrowding that was totally 'unanticipated.' With adequate air conditioning and ventilation, indoor concerts are often better.

It is the most concerning when it comes to drug abuse in public, commonly seen in local shows. Safety checks are a very vague area, to begin with– however, little to no moderation is seen during the shows, with the buying and selling of drugs happening openly.

Just as problematic is lousy time management—the start times are always a mystery, and endings are often more inconvenient. You're out of luck, especially if you go to the venues located on the outskirts of Dhaka, given how inherently unsafe Public Transportation is at night.

These problems didn't just appear with the international acts; they've plagued Dhaka's concert scene for years. Now, with a bigger spotlight, the cracks are more visible, and there is no sign of improvement. 

After each disaster, the blame game begins—organizers point fingers at fans, and fans blame organizers—and offers no solutions. The current approach simply sweeps these problems under the rug, creating a concert experience that's more of a nightmare than a night to remember.

Ultimately, a booming concert scene requires a collaborative effort, much of which comes from organizers, who must maintain safety, prioritize convenience, implement sound policies, and manage well. 

Besides protesting against evil organizers, fans must also practice civic sense and be mindful of everyone's comfort in public places, even when excited. 

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