Arnila Guha Nolok
Audio By Carbonatix
The guitars screamed, the drums hammered and the crowd sang along—not in English, but in Bangla. That night in September, we pushed through the throng at Dr. Jeckyll’s Beer Lab in Pantego, Texas, feeling the floor vibrate beneath our feet as lights flashed across the room. For a moment, it felt like stepping straight into Dhaka, the capital of Bangladesh’s underground rock scene, thousands of miles away. In a country where English dominates most stages, a small but passionate community is keeping Bangla rock alive.
At the Bangla metal music event called Bangla Underground Volume 2, the bar was packed with students, artists and longtime fans who knew every lyric by heart. What began as a handful of musicians chasing the sound of their youth has grown into a thriving scene, a cultural pulse in Texas that extends far beyond the Bangladeshi community. Watching the crowd scream, sing and move together, it was clear this underground movement is only getting stronger.
The Bangla Rock Bands Driving the Scene
At the heart of Dallas’ Bangla underground scene is Gonojowar, a band with raw energy. Their name means “mass uprising.” “The band was all about breaking the norm,” said guitarist Rad Bin Wadud.
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Back in Bangladesh, the members grew up immersed in the Bangla underground music scene and live shows. “When we came to Dallas, we realized there wasn’t much Bangla rock or metal here—most music leaned toward mainstream styles,” Wadud said. “We wanted to bring that sound to life and share it with the community.”
Gonojowar’s journey is one of connection, growth and a shared love for Bangla rock. It began when Rad met drummer Anwarul Abedin Typhoon at the University of North Texas’ Sound of Bengal event, where he was performing Bangla band covers with Shahad Rahman, who later became the band’s vocalist.
Bonding over shared musical tastes, Rad and Typhoon decided to form a band. Shahriar Firoz joined on bass, followed by Sajid Hossain Sanju on guitar. After Sanju broke his hand and had to take a break from playing, Sharior Tamim stepped in and later became a permanent member, completing Gonojowar’s signature three-guitar sound alongside Wadud and Sanju.
As the lineup evolved, Wadud took on more vocal duties, often collaborating with guest vocalists such as Mezbah, Shoyeb and John. The band is currently searching for a permanent frontman.
Another standout in the scene is Aux4D. Though its members arrived in the U.S. at different times between 2016 and 2021, each began their first apartment life at the Oxford Apartments, an experience that inspired the band’s name. A friend of the members and fellow University of Texas at Arlington student, Ayman, suggested a slightly altered spelling, adding a subtle creative twist to the band’s name.
Vocalist Zahin Reshad and guitarist Anaf Mahbub initially started jamming together, later joined by Farhan Rahman on guitar and Maheer on bass. When Maheer became busy with his studies, Tanvir Imtiaz Limon stepped in as bassist. Anwarul Abedin Typhoon from Gonojowar initially filled in as guest drummer and was eventually replaced by Sajidul Hossain, who became the band’s permanent drummer, completing Aux4D’s lineup.
Arnila Guha Nolok
A Cultural Movement Across Continents
In a city where English dominates most stages in our music scene, Dallas’ Bangla underground scene pulses to a different rhythm, one shaped by memory, identity and the pride of carrying a culture across continents.
“We all listen to English metal,” Wadud said. “Bands like Metallica, Megadeth, Iron Maiden, Tool, Dream Theater and Slayer shaped how we play, but Bangladeshi bands like Artcell and Cryptic Fate were the ones that connected us. When we started jamming, those were the first songs we all knew by heart. We could have been an English-language band, but this felt more authentic.”
Growing up in mid-2000s Dhaka, these bands shaped their sound and spirit. Now, years later in Texas, Gonojowar is rebuilding that world from scratch. “Back home, we each had our own bands and played Bangla heavy metal covers,” added Sanju. “That was missing here. We started this to fill that gap.”
For Wadud, the spark came from a simple idea: Bangla metal fans in Dallas deserved to hear the songs they loved. Giants from back home, like Warfaze and Artcell, had only recently started touring the U.S. “People wanted to hear those songs,” he said. “So, we thought, why not bring them ourselves?”
That same energy drives Aux4D, a Bangla rock band based in Dallas that blends powerful rhythms with heartfelt melodies. Guitarist Mahbub calls it instinct: “I’ve played English thrash metal before, but Bangla is where I feel most expressive. It’s a proud connection to our culture.” While the group occasionally adds English tracks for non-Bangladeshi friends, the challenge and emotion of Bangla songs keep them grounded.
“Since our band is rooted in UTA’s Bangladeshi student community, it’s easier for us to connect with the audience,” said guitarist Farhan Rahman. “I’m personally more comfortable playing English songs, but most Bangla songs don’t have tabs or online lessons. Learning and performing them takes extra effort—that’s the challenge I enjoy, and that’s part of the fun.”
Bassist Tanvir Imtiaz Limon echoes the sentiment: “Bangla just feels more emotional. Figuring out the songs ourselves makes it even more rewarding.”
What Drives Bangla Music Above Ground
Before Bangla Underground became an organized movement, the bands were already planting their seeds. Throughout 2023, bands like Gonojowar and Aux4D performed Bangla rock songs at university events, including the University of North Texas and the University of Texas at Arlington, bringing a taste of underground energy to student crowds. These shows weren’t branded as underground, but they carried the same spirit and grit that would soon define the scene.
The first official Bangla Underground concert took place in November 2024, marking a turning point. For the first time, multiple Bangla rock and metal bands shared a stage under one banner, backed by proper production, lighting and promotion. Just months earlier, Gonojowar had played its first full set at a New Year’s Eve show in Plano on Dec. 31, 2023, blending into a mixed event yet standing out for its raw, homegrown energy.
By the time Reign of Bangla Rock arrived in July 2025, the foundation had been built. What began in small university halls and community gatherings had evolved into full-scale concerts that felt unmistakably professional yet deeply personal. “It’s not just the bands,” said Wadud. “It’s everyone working together — helping the scene grow and get stronger.”
Tamim highlights what makes Dallas a fertile ground for the scene. “The city has a sizable Bangladeshi population and three major universities—University of North Texas, University of Texas at Dallas and University of Texas at Arlington,” he said. “There’s a young audience that really connects with this kind of music. That’s why the scene took off here, rather than in Austin or other cities.”
Interestingly, the musicians themselves organize the concerts, funding and putting the shows together on their own.
Mahbub from Aux4D recalls the early days of the scene and the gap they aimed to fill. “When I first came to the U.S., there were only cultural events for Bangla music, no proper band shows,” he said. “We wanted to change that. Our first concert, Bangla Underground Volume 1, had $5 tickets for a 100-person venue, and it was overbooked. People kept asking when the next one would be. The response was insane.”
Nabila Nur Kuhu, vocalist of another Dallas-based Bangla band, Melody Lane and one of the organizers of the Reign of Bangla Rock concert, said, “We are very fortunate that Dallas is now a musical hub for all Bangladeshis that live far away from home. There are talented and passionate musicians from every genre here. One genre that we thought could be highlighted and celebrated more was pure rock, and that was the thought behind the show.”
The impact of the Bangla underground movement in Dallas now extends beyond its own community. At recent shows, American audiences have joined the mix, drawn by the sheer energy and musicianship. Miguel Martin, a music major at the University of Texas at Arlington, said he was amazed by the precision and passion on display. “Almost everyone could sing along to every song,” Martin said. “The bass was super intense, and the guitars sounded like one massive instrument.”
Colby Smith, part of UTA’s event staff, said what stood out most wasn’t just the sound but the spirit. “The crowd danced to every song,” he said. “It was warm, loud, and full of energy — just a really fun night.”
Moments like these show how Bangla rock is resonating across boundaries, connecting people who may not understand the lyrics but feel every beat of the music.
Arnila Guha Nolok
The Future of Bangla Underground
Looking ahead, hosting Bangla underground music performances presents its own set of challenges. Mahbub notes many Bangladeshi community events in the U.S. are primarily general cultural gatherings that often feature softer music, meaning audiences frequently need an introduction to heavy rock and metal.
Still, the goal extends beyond performance; it’s about inspiring the next generation of bands that will fill the void left by this initial group. Both Gonojowar and Aux4D are shifting their attention to creating original music and planning upcoming shows. Gonojowar aims to headline its own concerts once new songs are ready, hopefully by next summer, while Aux4D, meanwhile, is gearing up for a December performance expected to kick off a new wave of Bangla underground shows in Dallas. The organizers said that final details, including the venue, will be revealed soon, with announcements planned for early December.
Though small, Dallas’ Bangla underground is far from silent. Energetic, expansive and inclusive, the scene demonstrates how music can connect cultures, shape identity, and bring a community together.
