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Bijelo Dugme

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Bijelo Dugme
Company typeRock band
IndustryMusic
Founded1974 in Sarajevo, Yugoslavia
FounderGoran Bregović, Željko Bebek, Ipe Ivandić, Vlado Pravdić, Zoran Redžić
Headquarters
Sarajevo
,
Bosnia and Herzegovina
ProductsMusic albums, concerts

() is a rock group from Bosnia, originally part of Yugoslavia, established in Sarajevo in 1974. It is recognized as the most successful and widely acclaimed band in the former Yugoslav region, playing a pivotal role in the development of Yugoslav rock and mainstream music.

Although officially founded in 1974, the band's core members—guitarist Goran Bregović, lead singer Željko Bebek, drummer Ipe Ivandić, keyboardist Vlado Pravdić, and bassist Zoran Redžić—had collaborated since 1971 under the name Jutro. Their first album, Kad bi' bio bijelo dugme, fused traditional Balkan folk elements with hard rock, swiftly earning nationwide acclaim. They continued to enjoy success with subsequent releases, which led to a phenomenon known as "Dugmemania" by Yugoslav media. Their orchestral ballads featuring poetic lyrics—some crafted by Duško Trifunović—were highly praised by critics.

During the early 1980s, as the Yugoslav new wave movement emerged, the band evolved their sound to stay contemporary. Following Bebek's exit in 1983, vocalist Mladen Vojičić Tifa joined for one acclaimed album. Later on, Alen Islamović assumed lead vocals in 1986, contributing to two records that mixed folk-inspired pop rock with lyrics reflecting Yugoslav unity as part of Sarajevo’s New Partisans movement. The band dissolved in 1989 amid growing political unrest preceding the Yugoslav Wars. Subsequently, Goran Bregović embarked on a successful solo career composing film scores.

In 2005, Bijelo Dugme reunited with most former members and all three vocalists for concerts held in Sarajevo, Zagreb, and Belgrade—the latter marking one of the largest-attended shows ever. Another reunion took place in 2024 featuring Vojičić and Islamović during their 50th anniversary tour.

The group remains one of the most influential names in the history of Yugoslav music, frequently cited by prominent regional musicians. Their albums receive critical acclaim for composition, performance quality, production values, and lyricism. Nevertheless, some critics associate their blend of rock and Balkan folk with the rise of turbo-folk music during the late 1980s and 1990s. Bijelo Dugme’s cultural impact persists across former Yugoslav countries as an emblem of Yugoslav identity and a recurring theme in Yugo-nostalgia.

Kodeksi (1969–71)

The band’s roots date to 1969 when future frontman Goran Bregović played bass guitar for Beštije (The Beasts). He was invited by Željko Bebek, then vocalist of Kodeksi (The Codexes), who needed a bassist. The lineup featured Ismeta Dervoz (vocals), Edo Bogeljić (guitar), Bebek (rhythm guitar and vocals), Bregović (bass), and Luciano Paganotto (drums). Despite interest from Pro Arte, Bregović remained with Kodeksi. After performing in Dubrovnik, they secured a residency at a club in Naples, Italy. Due to parental restrictions, Dervoz did not join them on this tour.

Initially in Naples, Kodeksi performed covers of Cream and Jimi Hendrix but shifted toward more nightclub-friendly tunes under pressure from club owners. When Bogeljić returned to Sarajevo, Bregović transitioned to guitar. Bass duties were taken over briefly by local musician Fernando Savino before his departure; Bebek then brought in Zoran Redžić from Čičak, who introduced drummer Milić Vukašinović as Paganotto’s replacement. Vukašinović influenced the group toward heavier styles reminiscent of Led Zeppelin and Black Sabbath, convincing them to adopt this heavier sound. This change led to their expulsion from all venues within two weeks.

The core quartet—Bebek, Bregović, Redžić, and Vukašinović—returned to Naples via Capri in 1970. They persuaded Bebek to stop playing rhythm guitar due to its declining popularity; however, Bebek struggled with vocals on the new material and often ceded lead singing to Vukašinović. Feeling sidelined, Bebek left Kodeksi late that year to return home to Sarajevo.

Vukašinović, Bregović, and Redžić continued performing until spring 1971 when family pressures brought them back to Sarajevo. There they played once as Mića, Goran i Zoran, covering major rock bands like Cream and Led Zeppelin to positive audience response. They earned a TV Sarajevo slot contingent on recording an original song; their quickly produced "Ja i zvijezda sjaj" ("Me and the Stars' Glow") was poorly received. This outcome influenced Vukašinović’s decision to relocate to London late in 1971, effectively ending this trio’s collaboration.

Jutro (1971–73)

In the fall of 1971, guitarist Ismet Arnautalić approached Bregović with a proposal to establish Jutro. The ensemble consisted of Arnautalić, Bregović, bassist Redžić, drummer Gordan Matrak, and singer Zlatko Hodnik. It was during this period that Bregović composed his initial songs. Subsequently, Bebek was invited to replace Hodnik to introduce a more forceful vocal presence. With Bebek on board, they recorded "Patim, evo, deset dana," which appeared in 1972 as the B-side of "Ostajem tebi." Following this, Bebek departed for compulsory military service, causing the band to pause activities until his return.

While Bebek was on army leave, Jutro managed to record four tracks, notably "Kad bi' bio bijelo dugme" and "U subotu, mala," with the first two issued as a 7-inch single. Feeling discontented with the band's trajectory, Arnautalić exited in late 1972, asserting ownership over the Jutro name. Guitarist Miodrag "Bata" Kostić briefly joined but soon left. The pioneering fusion of Balkan folk with rock by YU Grupa heavily influenced Bregović’s subsequent folk rock approach.

After Matrak’s departure from drums, Perica Stojanović replaced him briefly before Vladimir Borovčanin "Šento" took over. Borovčanin failed to secure a recording deal with Jugoton and grew disillusioned with the group. Alongside Redžić, he neglected rehearsals and eventually left following disagreements with Bregović.

Redžić’s position was filled by Ivica Vinković from Ambasadori; however, Vinković was unable to participate in the Soviet Union tour. Borovčanin’s role was taken over by Goran "Ipe" Ivandić. Instead of adding a second guitarist, Bregović brought in keyboardist Vlado Pravdić from Ambasadori and Indexi. Despite Arnautalić leveraging Radio Sarajevo connections to obstruct recording sessions, producer Nikola Borota Radovan permitted the band to clandestinely record "Top" and "Ove ću noći naći blues," with "Top" featuring an intro inspired by ganga singing. Vinković returned to Ambasadori and was succeeded by Jadranko Stanković on bass.

Owing to disputes with Arnautalić and conflicts with another well-known Ljubljana band also named Jutro, the group adopted the name Bijelo Dugme, inspired by their song "Kad bi' bio bijelo dugme." They officially began operating under this new name in January 1974.

"Shepherd rock" era: ascent and "Dugmemania" (1974–79)

By January 1974, the band had completed recordings of "Top" and "Ove ću noći naći blues". After being turned down by Sarajevo's Diskoton label—resulting in release delays—they secured a five-year deal with Zagreb-based Jugoton. Their 7-inch single launched on 29 March 1974 sold approximately 30,000 copies.

The group primarily promoted this single in smaller towns. Following internal discord, bassist Jadranko Stanković was dismissed; Ljubiša Redžić rejoined despite earlier tensions with Bregović. Their subsequent single—featuring "Glavni junak jedne knjige" and "Bila mama Kukunka, bio tata Taranta"—was simultaneously released by both Jugoton and Diskoton due to Bregović’s contracts with each label, attracting considerable media coverage and boosting sales.

Their major breakthrough occurred at the 1974 BOOM Festival in Ljubljana where they performed alongside leading Yugoslav artists and unveiled their glam rock persona that garnered significant press attention. They spent the summer performing in Cavtat while preparing material for their debut album. Their third single, including "Da sam pekar" and "Selma," surpassed 100,000 copies sold and earned them their first gold record.

Towards the end of 1974, they opened for Tihomir "Pop" Asanović's Jugoslovenska Pop Selekcija and recorded their debut album Kad bi' bio bijelo dugme in Ljubljana. Despite an underwhelming appearance at the Skopje Festival, their following concert in Belgrade received positive audience reactions. Manager Vladimir Mihaljek secured them an opening spot at Korni Grupa’s farewell show before 15,000 attendees in Sarajevo.

Kad bi' bio bijelo dugme combined commercial hard rock with folk influences—coined as "shepherd rock"—which established their strong market presence. The album shattered Yugoslav sales records by moving roughly 141,000 copies and earned a gold award at the Opatija Festival in February 1975.

In early 1975, Mihaljek organized Kongres rock majstora—a guitarists’ contest sponsored by Jugoton featuring top Yugoslav players. Bregović and three others were named best guitarists; they recorded sides of a double album followed by a joint tour. The band released the single "Da mi je znati koji joj je vrag" and embarked on their first extensive Yugoslav tour, swiftly becoming the region’s most popular ensemble.

Prior to recording their sophomore album, they retreated to Borike village for rehearsals. Šta bi dao da si na mom mjestu was produced in London in November 1975 under Neil Harrison’s guidance. Bebek played bass due to Redžić’s injury but Redžić retained credit for his parts. This album featured hits like "Tako ti je, mala moja, kad ljubi Bosanac," selling over 200,000 copies and earning both diamond and platinum certifications—the first such achievements in Yugoslav music history.

Following its release, they toured Kosovo and Metohija; Mustafa Kurtalić temporarily replaced injured Redžić on bass before Ljubiša Racić took over due to payment disputes. Their New Year’s Eve 1976 concert was canceled after an invitation to perform for President Tito at the Croatian National Theatre; however, this performance ended prematurely reportedly because of excessive volume levels.

During this time frame, funk elements were incorporated into solo singles recorded in the United States; additionally, Bregović secured legal rights over the band name via signed waiver. In autumn 1976 Ivandić and Pravdić departed for military service; replacements included Vukašinović from Indexi and Laza Ristovski from Smak—generating notable media interest.

Their third album Eto! Baš hoću! was again produced by Neil Harrison in London; Bebek once more handled bass duties. Released in December 1976, it featured tracks blending hard rock with folk nuances such as "Izgledala je malo čudno u kaputu žutom krojenom bez veze." After dismissing Racić over remuneration issues, Sanin Karić joined on bass for a successful tour across Poland where they were acclaimed as leading Yugoslav youth representatives. Redžić and Ivandić rejoined post-tour; Vukašinović later founded heavy metal band Vatreni Poljubac.

By 1977 internal tensions escalated amid declining concert attendance and technical difficulties; several shows were canceled including planned live recordings. Rumors circulated about potential disbandment as popularity waned after four years of continuous success.

To rejuvenate their image, they staged a free open-air concert at Belgrade's Hajdučka česma on 28 August 1977 that drew between 70,000 and 100,000 spectators—the largest rock gathering ever seen in Yugoslavia at that time. Despite minimal security presence no major incidents occurred. Portions of this event were used for the live album Koncert kod Hajdučke česme, which was ultimately recorded indoors due to poor outdoor sound quality.

After mixing this live album, Bregović commenced his army service; the band entered a hiatus described by Melody Maker as almost a national tragedy. Bebek released his symphonic rock-influenced solo album Skoro da smo isti in June 1978 receiving mixed reactions. Meanwhile Ristovski and Ivandić recorded Stižemo with notable collaborators but exited after Bregović rejected their songwriting contributions. In September 1978 Ivandić was arrested for hashish possession and sentenced to three years imprisonment.

Late in 1978 Pravdić returned while drummer Dragan "Điđi" Jankelić joined from Formula 4-related groups. The band prepared their fourth studio album in Niška Banja but fully regrouped only after Bregović completed military service in November.

The fourth album Bitanga i princeza, produced again by Neil Harrison and recorded in Belgrade incorporating symphonic orchestra elements faced censorship: Jugoton refused its provocative original cover art; lyrics containing profanity or religious references were altered prior to release in March 1979 to critical acclaim as their best work yet. This effort moved away from folk towards hard rock hits like "Bitanga i princeza," alongside poignant ballads. The supporting tour sold out Belgrade's Pionir Hall five times; approximately $100,000 from ticket sales was donated to victims of the Montenegro earthquake. Some concerts featured choir and orchestral accompaniment.

On 22 September 1979 they headlined Rock spektakl '79 at Belgrade’s JNA Stadium performing before over 70,000 fans alongside numerous opening acts.

During this era Bregović debuted as a film composer for Aleksandar Mandić’s Personal Affairs, releasing singles featuring lyrics penned by Duško Trifunović. In 1980 Bregović spent time residing in Paris while the band remained inactive.

Doživjeti stotu: Embracing the New Wave Trend (1980–82)

As the 1980s began, the Yugoslav rock landscape experienced a notable influx of new wave groups connected to the punk scene. Bregović drew particular inspiration from bands such as Azra and Prljavo Kazalište. By 1980, shifted its musical direction toward a new wave style.

In December 1980, the band unveiled Doživjeti stotu (Live to Be 100), an album heavily influenced by new wave and marking Bregović’s debut as producer. Unlike previous records, most tracks were composed during studio sessions. To meet pressing deadlines, Bregović resorted to cocaine to maintain alertness while crafting lyrics. The album featured saxophone performances by jazz artist Jovan Maljoković and avant-garde contributor Paul Pignon. Only a handful of songs retained elements of the band’s earlier sound; politically charged lyrics emerged for the first time in tracks like "Ha ha ha" and "Tramvaj kreće (ili kako biti heroj u ova šugava vremena)." The provocative cover art, portraying plastic surgery, was created by Mirko Ilić, a figure prominent in the Yugoslav new wave movement. Reflecting their stylistic transformation, band members adopted shorter haircuts while frontman Željko Bebek shaved off his mustache. Despite some initial doubts, critics responded positively to Doživjeti stotu. By the end of the year, readers of Džuboks magazine awarded multiple honors including Band of the Year and Album of the Year for this release.

Beginning in February 1981, the group embarked on a tour across Yugoslavia, culminating in a live recording at Zagreb’s club Kulušić, issued as 5. april '81. This limited edition included a cover of Indexi's "Sve ove godine." Throughout the tour, they performed several concerts in Belgrade, sharing stages with British heavy metal band Iron Maiden and various local acts during the Svi marš na ples! festival at Belgrade Hippodrome. Additionally, they held three New Year’s Eve shows at Hala Pinki alongside Indexi.

In early 1982, took part in a symbolic Winter Olympics handover event from Innsbruck to Sarajevo held in Innsbruck, Austria. Upon returning home, customs officials confiscated their equipment due to undeclared new instruments hidden inside old containers. Their record label Jugoton provided a loan of 150 million Yugoslav dinars to cover fines and swiftly released two compilation albums—Singl ploče (1974-1975) and Singl ploče (1976-1980)—to offset financial losses. To regain stability, they toured Bulgaria mid-1982 with 41 concerts, including two major performances at Sofia’s People's Army Stadium. After drummer Jankelić was drafted into military service in April, former Leb i Sol drummer Garabet Tavitjan stepped in for this tour. Although media reports suggested Bregović was expelled from the League of Communists due to absenteeism, the era’s liberalizing political climate ensured no adverse effects on his or the band’s trajectory.

By late 1982, Ivandić was released from incarceration and rejoined , restoring the group’s classic lineup.

Following Doživjeti stotu, Bebek's Exit (1983–84)

In early 1983, Bregović, Redžić, Pravdić, and Ivandić collaborated on a children’s album titled ...a milicija trenira strogoću! (i druge pjesmice za djecu), with music composed by Bregović and lyrics by Duško Trifunović. Vocals were provided by eleven-year-old Ratimir Boršić "Rača", and the album was released under his name alongside .

February 1983 saw the release of Uspavanka za Radmilu M., which Bregović intended as a farewell project prior to disbanding. Recorded in Skopje, it featured guest appearances from Vlatko Stefanovski (guitar), Blagoje Morotov (double bass), and Arsen Ereš (saxophone). Songs such as "Ako možeš zaboravi" and "Polubauk polukruži poluevropom" demonstrated diverse musical influences reflecting the band's ongoing evolution. The instrumental title track remains 's sole instrumental piece.

Unlike earlier albums, Uspavanka za Radmilu M. received minimal media promotion but was accompanied by an innovative VHS video cassette containing videos for every song—an unprecedented release within Yugoslav rock at that time. Directed by Boris Miljković and Branimir Dimitrijević "Tucko", the video for "Ovaj ples dame biraju" became Yugoslavia's first music video addressing gay themes. The track "Kosovska", featuring Albanian lyrics, sought to incorporate Kosovo Albanian cultural elements into Yugoslav rock during politically sensitive times; despite its straightforward lyrics, it stirred some controversy.

Although lacking major hit singles, the album’s successful tour persuaded Bregović to postpone disbanding plans. Afterward, entered a period of inactivity; Bebek recorded his second solo album titled Mene tera neki vrag. His final appearance with the band took place on 13 February 1984 at Sarajevo Olympic Village. Frustrated over his share of earnings, Bebek departed in April 1984 to embark on a moderately successful solo career occasionally supported by Jankelić on drums.

Period with Mladen Vojičić "Tifa" (1984–86)

Following Bebek's exit, Alen Islamović, known as the vocalist for heavy metal group Divlje Jagode, declined the invitation to join due to concerns about Bebek's potential comeback. Consequently, the band recruited the relatively unknown Mladen Vojičić "Tifa," who had previously performed with Top and Teška Industrija. During the summer, the group spent time in Rovinj, playing at the Monvi tourist center while working on their upcoming album. Meanwhile, drummer Ivandić collaborated with synth-pop ensemble Amila, whose lead singer Amila Sulejmanović later contributed as a backing vocalist.

Bregović and singer Zdravko Čolić established the Slovenia-based label Kamarad to jointly release the new album alongside Diskoton. The record, titled Bijelo Dugme and released in December 1984, is also referred to as "Kosovka djevojka" ("Kosovo Maiden") after its cover art featuring Uroš Predić's painting. Both Ristovski and Pravdić participated on keyboards for this album; Ristovski officially rejoined the band after recording was completed. The album showcased a folk-influenced pop rock style and included a rendition of the Yugoslav anthem "Hej, Slaveni." It notably impacted many Sarajevo-based bands that the media labeled as part of the "New Partisans."

The album's standout track was "Lipe cvatu, sve je isto k'o i lani," a reinterpretation of Bisera Veletanlić's "Šta ću nano dragi mi je ljut," penned by Bregović. Other significant songs featured "Padaju zvijezde," "Lažeš," "Da te bogdo ne volim," and "Jer kad ostariš." The song "Pediculis pubis," co-written and performed by Bora Đorđević from rival band Riblja Čorba, included vocal contributions from Đorđević, Bregović, and Vojičić. Traditional musical elements were incorporated through collaborations with the Radio Television of Skopje Folk Instruments Orchestra, folk group Ladarice, Pece Atanasovski on gaida, and Sonja Beran-Leskovšek playing harp.

The album achieved sales exceeding 420,000 copies. Its supporting tour was met with great success, highlighted by a concert at Belgrade Fair attended by approximately 27,000 people—then the largest indoor audience recorded in Belgrade. On stage, the band adopted stylized military uniforms adorned with the red star from Kamarad's logo, drawing partial inspiration from Laibach’s visual style. In summer 1985, alongside Bajaga i Instruktori, they represented Yugoslavia at the 12th World Festival of Youth and Students held in Moscow.

Although scheduled to perform at Gorky Park on 28 July, their soundcheck attracted an estimated 100,000 attendees due to Yugoslav technicians broadcasting Bruce Springsteen and Pink Floyd tracks. Bajaga i Instruktori opened the event; however, police intervention amid crowd disturbances prevented from taking the stage. Subsequent performances took place at Dinamo Hall and Moscow Green Theatre with more modest audiences—around 2,000 factory workers and 10,000 young activists respectively—and featured British bands Misty in Roots and Everything but the Girl.

These concerts in Moscow marked Vojičić’s final appearances with the band. Facing pressures from professional commitments, sudden celebrity status, and a media controversy surrounding his LSD use led to his departure. After leaving , Vojičić toured with Željko Bebek and Armija B before joining Vukašinović’s group Vatreni Poljubac and later heavy metal band Divlje Jagode—where Alen Islamović had previously declined to join —prior to embarking on a solo career.

Alen Islamović era and the band's dissolution (1986–89)

Following Vojičić's exit, Alen Islamović returned to the group, departing from his London-based band Divlje Jagode, which was pursuing an international career under the name Wild Strawberries.

The 1986 release Pljuni i zapjevaj moja Jugoslavijo (Spit and Sing, My Yugoslavia) embraced themes of Yugoslav unity, blending pop rock with folk influences. Initially, Bregović aimed to involve politically sidelined figures such as singer Vice Vukov, painter Mića Popović, and politician Koča Popović to challenge prevailing official narratives. However, due to managerial intervention and pressure from Diskoton, these plans were abandoned. Instead, vocals on a revolutionary cover song were provided by World War II hero Svetozar Vukmanović Tempo. Prominent tracks included "Hajdemo u planine," "Noćas je k'o lubenica pun mjesec iznad Bosne," alongside ballads like "Te noći kad umrem" and "Ružica si bila, sada više nisi."

The album received mixed reviews; in 1987, Belgrade journalist Dragan Kremer openly criticized it, sparking a media controversy following Bregović's sharp rebuttal. Despite this, the album achieved strong sales and the accompanying tour was well-received, featuring opera singer Dubravka Zubović.

The 1987 double live album Mramor, kamen i željezo (Marble, Stone and Iron) documented highlights from the tour and included a cover of a hit by the 1960s band Roboti. It continued to emphasize Yugoslavist symbolism with references to "The Internationale" and "Brotherhood and Unity," while its artwork displayed imagery from a Communist Party congress. This release marked Vlado Pravdić's last full participation before he shifted focus to his computer business, although he remained an official member and occasional performer.

Emerging during Yugoslavia’s escalating political turmoil, the 1988 album Ćiribiribela expressed Bregović’s pacifist message. The cover featured Edward Hicks' painting Noah's Ark, while songs incorporated Croatian and Serbian national motifs, particularly evident in "Lijepa naša." The popular track "Đurđevdan je, a ja nisam s onom koju volim," based on a traditional Romani melody, showcased trumpeter Fejat Sejdić. Other notable songs included "Evo zakleću se," "Ako ima Boga," and "Napile se ulice."

The music video for "Đurđevdan" generated controversy due to its use of Serbian folk costumes resembling Chetnik symbolism; ultimately, Radio-Television Belgrade censored the footage because of political sensitivities.

The 1989 tour drew large crowds—13,000 attendees in Belgrade and over 20,000 in Sarajevo—but faced hostility in certain Croatian venues where pro-Yugoslav songs were met with boos and thrown objects. After a concert in Modriča on 15 March, Islamović was hospitalized with kidney pain. Internal conflicts surfaced as Bregović minimized the situation while manager Raka Marić suggested searching for a new vocalist ahead of planned concerts in China and the Soviet Union. Subsequently, Bregović departed for Paris, leaving the band’s future uncertain.

In 1990, the compilation Nakon svih ovih godina was issued, featuring recordings from 1984 through 1989. With the outbreak of the Yugoslav Wars in 1991, it became clear that the band would cease its activities.

Post-breakup

Following the band's dissolution, Bregović remained active as a composer for films, frequently partnering with Emir Kusturica. Meanwhile, Redžić moved to Finland to pursue a career in music production before eventually returning to Sarajevo after the Bosnian War, where he established a rock club. Ristovski focused on his solo projects and studio collaborations, working during the 1990s with the glam metal group Osvajači as well as his former band Smak. Islamović embarked on a moderately successful solo path after releasing his debut album (Hey, May All Hear, Hey, May All Know) in 1989.

On 12 January 1994, Ivandić tragically died after falling from the sixth floor of Belgrade’s Hotel Metropol. Although officially declared a suicide, the circumstances surrounding his death have sparked ongoing debate. Several close associates—including Bregović, Bebek, Ristovski, Vojičić, Vukašinović, and Amila Sulejmanović—have expressed doubts about the investigation’s conclusions. Bregović mentioned Ivandić’s history of sleepwalking following his release from prison as a potential explanation. Others have suggested foul play possibly related to debts owed to loan sharks.

In 1994, a double compilation album titled (There's Some Secret Connection) was issued, featuring artwork by Dragan Malešević Tapi entitled (The Joy of Bankruptcy) on its cover.

2005 reunion

Despite previously asserting he would not participate in any reunion, Goran Bregović, one of the prominent Balkan composers of the 1990s, reassembled the band in 2005. The lineup included Bregović on guitar; vocalists Željko Bebek, Mladen Vojičić, and Alen Islamović; bassist Zoran Redžić; drummers Milić Vukašinović and Điđi Jankelić; alongside keyboardists Vlado Pravdić and Laza Ristovski. This comeback attracted extensive media coverage throughout the former Yugoslav republics, driven by a surge of yugonostalgia.

The group performed three major concerts held in Sarajevo at Koševo City Stadium, Zagreb at Maksimir Stadium, and Belgrade at Belgrade Hippodrome. These events incorporated a string orchestra, brass ensemble, klapa vocal group Nostalgija, plus two female singers from Bregović’s Weddings and Funerals Orchestra. Throughout the shows, Bregović, Redžić, Pravdić, and Ristovski consistently played; drumming duties alternated between Vukašinović and Jankelić. Islamović opened performances in Sarajevo and Zagreb while Vojičić did so in Belgrade; Bebek took the third spot at all venues. An unplugged segment featured all three vocalists performing with guitars.

Attendance figures were impressive: approximately 60,000 attendees in Sarajevo, over 70,000 in Zagreb, and exceeding 250,000 in Belgrade—the latter ranking among the highest-attended ticketed concerts ever held there despite some criticism regarding sound quality. Following the tour, the live album Turneja 2005: Sarajevo, Zagreb, Beograd was released.

Post-2005

Keyboardist Laza Ristovski succumbed to complications from multiple sclerosis in Belgrade on 6 October 2007.

In 2014, Raka Marić made efforts to bring the band back together for their 40th anniversary. Although members showed interest in this idea, no formal agreement was reached. Instead, Goran Bregović commemorated the milestone by performing concerts with his Weddings and Funerals Orchestra alongside vocalist Alen Islamović. To honor this anniversary, Croatia Records issued a limited-edition Box Set Deluxe, which included remastered vinyl versions of all studio albums along with a reissued first 7-inch single as an added bonus.

Influence, legacy and criticism

is recognized as the most influential musical act in the former SFR Yugoslavia and its successor states, leaving a significant mark on artists spanning multiple genres. Notable musicians who have acknowledged their influence include Jasenko Houra from Prljavo Kazalište, Kiki Lesendrić of Piloti, Dejan Cukić representing Bulevar and Bajaga i Instruktori, Aleksandar Milovanović of KUD Idijoti, and Dino Merlin from Merlin, among others. Their songs have been covered by a variety of performers such as Aska, Regina, Revolveri, Prljavi Inspektor Blaža i Kljunovi, Viktorija, Sokoli, Massimo Savić, Vasko Serafimov, Zoran Predin alongside Matija Dedić, Branimir Štulić, Teška Industrija, Texas Flood and more. During her 2014 concerts in Belgrade and Zagreb, Joan Baez delivered a rendition of "Ima neka tajna veza." In an amusing moment at an Italian concert in 1991, Nirvana’s Krist Novoselic introduced his band as .

Several publications detail the band's journey and significance: Istina o Bijelom dugmetu (1977), Duško Pavlović’s Bijelo Dugme (1980), Ništa mudro (1981), Lopuže koje nisu uhvatili (1985), Asir Misirlić’s Bijelo Dugme (2005), Bijelo Dugme – Doživjeti stotu (2005), Kad bi bio bijelo dugme (2005), Kad sam bio bijelo dugme (2005), and Šta bi dao da si na mom mjestu (2014).

In 1994, Radio Television of Serbia broadcasted a four-part documentary titled Nakon svih ovih godina. Igor Stoimenov directed another documentary about the band in 2010. The 2015 film Izgubljeno dugme, directed by Robert Bubalo and collaborators, focuses on Ivandić.

The 1998 book YU 100: najbolji albumi jugoslovenske rok i pop muzike features eight albums by among the finest Yugoslav releases. Additionally, Croatian Rolling Stone magazine’s 2015 list includes three of their albums in its top 100 Yugoslav records. Their live album 5. april '81 was ranked among the twelve best live recordings in the special edition YU legende uživo (1987).

Eight tracks by appear on the Rock Express Top 100 Yugoslav Rock Songs of All Times, while three songs are included in the B92 Top 100 Yugoslav songs. Lyrics from ten compositions by Bregović and Trifunović are featured in Petar Janjatović’s anthology of ex-Yugoslav rock poetry.

In 2016, Serbian weekly magazine Nedeljnik honored Goran Bregović as one of the 100 People Who Changed Serbia; a year later it recognized ’s Hadjučka česma concert as one of the 100 Events that Changed Serbia.

Although widely praised for their songwriting, lyrical content, instrumental skill, and production quality, encountered criticism from some musicians and critics within Yugoslavia and its successor states. They contend that ’s blend of rock with Balkan folk music contributed to the emergence of turbo-folk during the late 1980s and 1990s. Critics voicing this view include Robert Nemeček from Pop Mašina, Dušan Kojić "Koja" of Disciplina Kičme, Zoran Kostić "Cane" from Partibrejkers, among others. Bregović has also been accused of plagiarism due to resemblances with international rock pieces. Their work has been subject to parody by artists like Marko Brecelj, Paraf, Gustafi, Rambo Amadeus and S.A.R.S.

's repertoire continues to enjoy popularity throughout the former Yugoslav republics and is frequently seen as an emblem of Yugoslav cultural identity, often evoking feelings associated with yugo-nostalgia.

Members

Present lineup

  • Goran Bregović – guitar (1974–1989, 2005, 2024–present)
  • Mladen Vojičić "Tifa" – lead vocals (1984–1985, 2005, 2024–present)
  • Alen Islamović – vocals (1986–1989, 2005, 2024–present)
  • Zoran Redžić – bass guitar (1974–1975, 1977–1989, 2005, 2024–present)
  • Dragan "Điđi" Jankelić – drums (1978–1982, 2005, 2024–present)

Past members

  • Željko Bebek – vocals (1974–1984, 2005), bass guitar (studio only; 1976–1977)
  • Jadranko Stanković – bass guitar (1974)
  • Vlado Pravdić – keyboards (1974–1976, 1978–1989, 2005; deceased 2023)
  • Laza Ristovski – keyboards (1976–1978, 1984–1989, 2005; deceased 2007)
  • Goran "Ipe" Ivandić – drums (1974–1976, 1977–1978, 1982–1989; deceased 1994)
  • Milić Vukašinović – drums (1976–1977, 2005)

Touring personnel

  • Mustafa "Mute" Kurtalić – bass guitar (1975)
  • Ljubiša Racić – bass guitar (1976)
  • Sanin Karić – bass guitar (1977)
  • Garabet Tavitjan – drums (1982)
  • Ognjen "Ogi" Radivojević – keyboards (2024–present)


Timeline



Discography

Albums in studio

Albums live


Sources


External links

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