James at 62: ‘I don’t keep track of achievements or unfulfillment’
James Reflects on Music, Touring and a Life Beyond Milestones
Bdbusinessdaily.com – Bangladeshi rock icon James marks his 62nd birthday with the same quiet distance he has maintained from birthday rituals throughout his career. While admirers are expected to celebrate the day, the musician himself sees no need for a large personal occasion.
"I've never celebrated my birthday on a grand scale. The fans celebrate it, and I observe that."
That understated outlook has long defined Faruq Mahfuz Anam, widely known as James and affectionately called Guru by listeners. For more than four decades, he has remained a major presence in Bangladesh’s band-music landscape, first through Feelings, which he founded in 1977, and later through Nagar Baul, the name by which the band became known.
His career has crossed several musical worlds. James has performed for audiences at home and abroad, recorded songs for Bollywood productions, received two National Film Awards, and built a catalogue that has travelled far beyond concert venues. His music has reached listeners in cities, villages, open fields and along riverbanks, becoming part of the shared soundscape of Bangla rock.
New Songs Take Time in a Life of Constant Travel
Despite his continued popularity as a performer, James has not been releasing music at the pace some fans may expect. He says fresh work is being considered and developed, but the demands of touring make concentrated creative time difficult to protect.
"Yes, there are plans, and work is ongoing. However, due to continuous touring, I often get exhausted. Between live shows and touring, it's been difficult to carve out dedicated time."
For an artist whose schedule is driven heavily by live appearances, the challenge is understandable. Touring requires travel, rehearsals and repeated performances, while songwriting needs a different kind of space: time to experiment, revise and let an idea mature. James has never described his own process as overly rigid. Instead, he prefers to begin with a foundation and allow a song to find its fuller form in front of an audience.
"I create a basic framework for a song, and then it evolves dynamically during live performances. I prefer keeping the structure open and flexible rather than rigid."
That approach helps explain why the stage remains central to his artistic identity. A live performance is not simply a replay of a finished recording; it can be the place where a musical idea changes shape, reacts to a crowd and gains fresh energy.
A Crowded Digital Music World
James sees the present music environment as vastly more crowded than the one in which Bangladesh’s major bands first established themselves. To describe the change, he points to another personal interest: photography.
An enthusiastic photographer, especially drawn to portraiture and the opportunity to capture people, James believes photography offers a useful comparison for understanding music today. A field once associated with specialised skill has become much more accessible through phones and digital tools. In his view, that accessibility has expanded participation but also reduced the sense of scarcity around individual work.
"Photographers might understand this best. Photography used to be a specialised discipline, but now the field has become oversaturated. Music today is similarly saturated."
His observation is not a dismissal of younger artists. In fact, James credits emerging musicians with remarkable ability, suggesting that many may be more technically talented than his own generation. But talent alone does not guarantee that music can provide a stable livelihood when listeners have access to an almost unlimited supply of songs.
"There is so much music available that even if no new songs were produced for the next 20 years, people could easily keep listening to everything and still have room for more."
For listeners, digital platforms have made it easier to discover old recordings alongside new releases. A younger audience can now find an entire catalogue through a phone screen within seconds. For musicians, though, that convenience has changed the business of music. Recordings can circulate widely without necessarily creating the income once associated with selling albums.
Why Live Performance Matters More Than Ever
James is direct about the financial shift brought by streaming services and video platforms. In his view, the widespread availability of music has altered what audiences expect from it, placing greater pressure on artists to earn through concerts and other live work.
"When music moved to digital streaming platforms like Spotify or YouTube, it essentially became free. When you offer everything for free, people's expectations shift. Nowadays, those who excel in live performances are the ones who can sustain themselves."
The implication is clear: for many musicians, the concert stage is no longer just a promotional extension of recorded music. It has become a primary way to maintain a career. James’s own packed touring calendar reflects that reality, even as it limits the hours available for writing and recording.
He applies the same reasoning to photography, where skilled practitioners may struggle to receive the material recognition their work deserves in an overcrowded market. The issue, as he frames it, is not a shortage of ability but the difficulty of standing out when creative output is constantly multiplying.
Passion Keeps Culture Moving
Still, James does not speak about this changing landscape with defeat. He believes commitment to the art itself remains the force that protects music and other traditional forms of expression.
"Genuine passion keeps art forms alive, much like traditional pottery."
For him, culture cannot remain fixed in one era or one format. It must continue to move, adapt and reach new people.
"Culture is like a flowing river; it must keep flowing. If you block it, it gets obstructed."
At 62, James appears less interested in measuring his place in that flow than in continuing to be part of it. He does not frame his long career through a tally of prizes, missed opportunities or personal satisfaction. The achievements are there: decades of influence, landmark band work, major film recognition and a lasting connection with audiences. Yet he chooses not to dwell on any ledger of success or regret.
"I don't keep track of achievements or unfulfillment. I don't dwell on what I received or didn't receive."
When asked what has truly changed over the years, his answer remains characteristically lighthearted: perhaps there is simply a little less hair on his head. For the Guru of Bangla rock, the passage of time has not ended the journey; it has only changed the rhythm of the road.
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