This essay aims to revisit Tagore songs, a very popular yet contested musical genre among the Bengali-speaking population for near about a century, with special reference to some specific attributes of the educated middleclass people of this region. Focusing on devotion and conjugal relationship as two attributes, this essay seeks to understand how Tagore songs provide a space where even an exhibiting secular self could merge into the realm of devotion (bhakti) and how the songs themselves could turn into worship of Tagore, a very illustrated cultural and national icon across the border of India and Bangladesh with prolonged international stature. It also looks into the ways his devotees guard performance styles, advocate for ‘purity’, that again endorses ‘bhakti’ in a defined but ever-changing secular conjugal space, how the songs take on a life of their performance styles changing as does the meaning of the songs dependent on when and where and by whom they are performed.