Contemporary Gombhira Gaan, a satirical song theatre tradition associated with Chapai Nawabganj and performed through the dialogic pairing of nana–nati (grandfather–grandson), has long operated as a vernacular public sphere where moral commentary is staged through humor, parody, and topicality. Das (2021) argues that Gambhira’s protest poetics convert everyday injustice into performable critique, and I extend his insight to the political economy of music-making under contemporary cultural capitalism. Farjana (2022) shows how Gombhira’s humorous address binds entertainment to ethical counsel, and I ask what happens when that counsel targets the institutions that broker musical value in Bangladesh. Drawing on performance ethnography in festival contexts, lyric and discourse analysis, and digital ethnography of video clips, this paper traces how Gombhira ensembles narrate and mock Bangladesh’s music industries and their Dhaka infrastructures. Performers render the work of intermediaries, including commissioning politics, gatekeeping in broadcast and live circuits, platform-driven visibility, and the problem of piracy and unpaid royalties, as UNESCO Dhaka documents in its sector mapping. Rather than treating folk and industry as separate domains, I show how contemporary Gombhira collapses them. The stage becomes a site where supply-chain logics are debated, rural mobility to metropolitan markets is evaluated, and revenue opacity is named as a failure. The paper contributes to debates on mediation and cultural policy by proposing Gombhira as a form of industry critique that travels across stages and smartphones while remaining anchored in satire’s ethical grammar of shame, laughter, and counsel.