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| Zubeen garg |
Though he gained pan-India recognition (especially for his Bollywood playback work), his deepest roots remained in Assam, and he was often considered more than an artist — a cultural icon, a voice of the people, and a symbol of Assamese identity.
His untimely death in September 2025, in a scuba-diving accident in Singapore, was a shock to fans and cultural communities alike.
Below is a comprehensive narrative of his early life, artistic journey, social and political engagements, controversies, and the enduring legacy he leaves behind.
Early Life & Background
Family and Childhood
Zubeen was born Jibon Borthakur on 18 November 1972 in Tura, Meghalaya.
His parents were Mohini Mohon Borthakur (father) and Ily Borthakur (mother). His father was a magistrate and also a poet/lyricist (writing under the pen name “Kapil Thakur”), while his mother was a singer.
The family had ancestral roots in Jorhat (Tamulichiga / Jhanji) in Assam, and because his father’s job involved transfers, Zubeen grew up moving across different towns and school.
Because of this mobility, Zubeen’s exposure to diverse cultures, dialects, and communities in Assam and northeastern India perhaps influenced his later versatility in music and language.
Education
For his schooling, Zubeen attended various institutions. He studied at Carmel School, Jorhat , and later at Karimganj High School and Bijoni Bandhov School.
He passed his matriculation (Class 10) from Tamulpur Higher Secondary School, Nalbari in 1989.
He then did his higher secondary education (Science stream) at . B. College between 1990 and 1992.
After that, he pursued a Bachelor of Science (B.Sc.) degree.
Origins of the Name “Zubeen Garg”
He was named “Zubeen” (in homage to the famous conductor Zubin Mehta), and later adopted “Garg” (his Brahmin gotra) as his surname, in place of his family name Borthakur.
The name choice reflects a blend of global inspiration (Zubin Mehta) and rooted cultural identity (Garg as gotra).
Personal Loss & Family
He had a sister Jonkie Borthakur, who was also a singer/actress. Tragically, she died in a car accident in February 2002 while travelling for a stage show. In memory, Zubeen released an album titled Xixhu in 2002.
His younger sister Palme Borthakur is a geography professor.
In his personal views, Zubeen often declared himself irreligious or without caste affiliations. He said publicly that he did not follow any religion or caste.
He married Garima Saikia (a fashion designer from Golaghat, Assam) on 4 February 2002.
Musical Journey & Career
Zubeen Garg’s musical career is vast, multi-dimensional, and prolific. He was not content to be a singer — he branched out into composing, directing, lyric writing, acting, and more. Below is a broad sweep of his artistic life.
Early Work & Breakthrough
He began singing very early: some sources say from the age of threel
His first solo album Anamika (Assamese) came out in 1992, and it brought him widespread recognition in
In subsequent years, he produced numerous Assamese albums, working across romantic, folk, modern, devotional, and experimental genres.
Musical Range & Languages
One of the most remarkable features of Zubeen’s career was his linguistic versatility. Over his career, he sang in around 40 languages and dialects — Assamese, Bengali, Hindi, Bod o, Bodo, Tamil, Telugu, Kannada, Gujarati, Malayalam, Odia, Nepali, Sanskrit, Urdu, and many regional/northeast dialling
He was also a multi-instrumentalist— playing 12 instruments including dhol, dotara, guitar, harmonica, harmonium, mandolin, keyboard, tabla, various percussion instruments, and others.
Over a career spanning more than three decades, he recorded more than 38,000 songs (some sources even cite 40,000) across these languages.
He often recorded more than 600 songs in a single year, and reportedly once recorded 36 songs in a single night
Film Music & Playback Singing
Zubeen made his mark also in the Assamese film industry as a music director. One early example is the film Hiya Diya Niya (2000, Assamese), for which he composed the music.
Similarly, for Nayak (2001, Assamese), he composed music, wrote lyrics, and lent his voice to several tracks.
On the national stage, his biggest breakthrough in Bollywood was the song “Ya Ali” from the film Gangster (2006). That track became a huge hit across India and among diaspora audiences.
He also sang and contributed to various other Hindi films (and regional film industries) as playback singer, composer, and music director.
Other Creative Ventures
Beyond music, Zubeen ventured into acting, film direction, production, and writing. He was involved in the Assamese film industry not only as a musician but as a creative force in multiple role.
He also composed poetry and published works. His poetry books include Xabda Anubhuti (2009, Assamese) and Zubeenor Podyo (2018, Assamese).
He won awards not only for singing/film work but also for his non-feature film Echoes Of Silence (Best Music Direction) at the 55th National Film Awards.
Achievements & Honors
In 1996, his album Chandni Raat was selected as one of the best Indian pop albums by Channel V (nominated)
He earned multiple state and regional awards for playback singing, music direction in Assamese cinema.
In 2024, he was conferred an honorary Doctor of Literature (D.Litt.) degree by the University of Science and Technology, Meghalaya.
Style, Themes & Influence
Musical Style
Zubeen’s style was eclectic: he blended folk elements (Assamese, Bihu, Kamrupi, Goalpariya), classical forms, pop, rock, blues, filmi, and fusion.
One of his signature features was his humming within songs, which became quite popular and distinctive in his music.
He often experimented with instrumentation, layering, and cross-genre elements, giving fresh colors to Assamese music and integrating it with popular Indian music trends.
Themes & Messages
His songs covered love, longing, sorrow, social issues, human values, identity, and emotional introspection. He often expressed both personal longing and collective sentiment of his people.
Because of his deep connection to Assam and the Northeast, his music became a vehicle for expressing regional pride, cultural identity, and social consciousness. Many fans saw him as someone who voiced what other representatives could not.
Influence & Reach
Zubeen’s ability to sing in so many languages and genres gave him a bridge role— between Assamese/northeast music and mainstream Indian music.
He inspired a generation of musicians in Assam and the Northeast, who saw in him the possibility of transcending regional limits.
Fans and archivists have created large collections and archives of his work. For instance, one fan in Guwahati reportedly collected over 33,000 cassettes and CDs of his recordings.
After his passing, there are plans to include his life and works in school curricula (Modern Indian Languages syllabus) to ensure younger generations know his legacy.
Social Engagement, Activism & Public Life
While art was central to Zubeen’s identity, he also engaged with social and political issues, sometimes taking bold stances.
Protest & Political Engagement
He was a vocal figure during the Anti-CAA (Citizenship Amendment Act) protests in Assam. His public participation and artistic presence lent moral support to the movement.
During the COVID-19 pandemic (in 2021), he offered his two-storeyed house in Guwahati to be converted into a COVID care centre, to help with the crisis.
His statements and stances occasionally stirred controversies and debates.
Philanthropy & Community Impact
Through donation, public appeals, and leveraging his influence, Zubeen contributed to social causes, particularly in Assam and the Northeast.
His persona often encouraged youth engagement with arts, and he repeatedly emphasized cultural pride, identity, and language preservation.
Controversies & Criticism
As with many public figures, Zubeen Garg’s life and career also had their share of controversies and debates.
In July 2019, Zubeen made a provocative remark: “I am Brahmin, but I have snapped my lagun (a sacred thread worn by Brahmins)… These Brahmins should be killed.”This led to legal cases and public backlash. He later apologized.
His outspoken nature and rebellious streak sometimes drew criticism, especially from those who felt he crossed lines in religious or social commentary.
At times, he faced bans or pushback from some groups in Assam or from cultural or religious associations who felt offended by his statements.
These controversies did not, in many cases, derail his popularity — but they did complicate his public image: some saw him as a provocateur, others as a fearless voice.
Final Days & Death
The Accident & Passing
On 19 September 2025 , while in Singapore for a performance/trip (associated with the Northeast Festival), Zubeen Garg underwent a scuba-diving incident.
Reports indicate he experienced breathing difficulties in the water. He was rescued and given CPR but could not be revived, and was declared dead at the Singapore General Hospital.
The nature of the accident prompted multiple investigations, autopsies, and post-mortems to rule out foul play or negligence.
Public Reaction & Mourning
His death triggered an outpouring of grief, especially in Assam. Thousands, even lakhs, of fans gathered to pay tribute, many singing his songs, especially Mayabini (a song he had once said he wanted Assam to sing when he died).
His cremation took place in Kamarkuchi, on the outskirts of Guwahati, with full state honours, including a 21-gun salute.
A second post-mortem was conducted to ensure clarity about cause of death, amid public pressure.
The Assam government and political leaders paid homage; in the national broadcaster *Mann Ki Baat, Prime Minister Narendra Modi referred to him as the “Kohinoor of Assamese culture.”
The state declared a period of mourning.
The loss was widely felt not just as an artistic vacuum but as a rupture in Assam’s cultural consciousness.
Legacy & Lasting Impact
Even though his life ended abruptly, Zubeen Garg’s legacy is rich and multifaceted. Below are some of the key strands of how his impact is likely to endure.
Cultural Icon & Regional Identity
Zubeen will be remembered as an artist who embodied Assamese cultural pride and helped amplify the voice of Assam and the Northeast on the national and international stage.
His music and persona bridged the gap between local Assamese sensibilities and the broader Indian musical mainstream.
In memory, cultural bodies, fans, and state institutions are working to preserve, archive, and promote his works, to ensure future generations know his art and contributions.
Archival Efforts & Education
Large private and public archives are being created (or were already existing) to preserve his recordings, interviews, rare tracks, and performances.
Plans are underway to include his biography and works in school curricula (especially in language/MIL syllabi) in Assam and perhaps beyond.
Influence on Music & Artists
Many emerging musicians in Assam and the Northeast cite him as an inspiration — someone who showed that a regional artist could break through and be respected nationally.
His style, experimentation, and fusion approach may continue to inspire blends of folk, modern, classical, and cross-genre music in the region.
Memorials & Tributes
Statues, bridges, memorials in Assam bearing his name have already been inaugurated (for example, a 20-foot statue in Digboi, a bamboo bridge across Na Dihing river named “Zubeen Garg Bridge”).
Cultural events, tribute concerts, re-releases of his music, and commemorative festivals are being planned.
In the immediate aftermath of his death, symbolic gestures like releasing turtles in wildlife sanctuaries, banning certain events by festival organizers in Assam, and large public memorial events were held.
Challenges, Critique & Reflection
No life is without contradictions, and Zubeen’s journey also invites reflection on several nuanced points.
His vast output (tens of thousands of songs) sometimes raised questions about depth vs quantity: how to ensure each piece retains emotional integrity, rather than just being a numbers game.
His sometimes provocative remarks, especially on religion and caste, occasionally alienated sections of the public. But they also sparked debate about identity, privilege, and the social role of artists.
His role as a “cultural symbol” placed him under intense public scrutiny; maintaining personal space, beliefs, and creative freedom under that glare is a complex balance.
After his passing, questions about the circumstances of the accident, potential negligence, and whether more could have been done to prevent it remain under investigation. The second post-mortem, public demands for probes, and legal actions reflect that uncertainty.
Conclusion
Zubeen Garg was not just a singer or musician — he was a force of cultural expression, a bridge between tradition and modernity, and a voice for Assam and the Northeast in India’s musical mosaic. His extraordinary productivity, linguistic and stylistic range, and public engagement made him a rare figure who combined regional roots with national reach.
His passing at just 52 is a tragic loss, not only for music lovers, but for the cultural and emotional life of Assam.
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