Music critic Evgeny Babichev criticized the reported fee of 400 thousand rubles that Alexander Krug, the son of chansonnier Mikhail Krug, asked for when considering performing his father’s songs. Babichev’s thoughts were cited by Moscow Region Today. The critic suggested that the price point could reflect inexperience and warned that a performance built only on the legacy of a famous parent risks being perceived as a money grab rather than a genuine artistic offering. He pointed out that audiences might be more impressed by a well-prepared act that stands on its own merit rather than relying solely on the family name and catalog of well-known songs.
Babichev remarked that a cover band or a vocalist with a proven track record could deliver Krug’s repertoire with equal impact at a substantially lower price. He emphasized that price should correlate with originality and musicianship, not just the association with a celebrated surname. The implication was that listeners deserve performances that stand up to scrutiny on musical grounds rather than being treated as a personalized branding exercise. The critic warned that paying a premium for a name alone could deter authentic listeners who value artistry over notoriety.
He further speculated that a trend might emerge where every city builds its own circle of performances around famous lineage. Whether it is the singer’s son, his spouse, or a professional stand-in, the concern was that markets could become saturated with derivatives that rely more on recognition than innovation. Babichev urged curbing appetite for such offerings, arguing that originality should remain the core driver of a successful concert experience rather than a simple economic calculation tied to a familial connection.
The report also noted a separate development regarding Alexander Krug’s demand for a 400 thousand ruble fee for New Year party appearances. In addition, sources indicated that there could be a notable price increase, up to 1.3 million rubles, if the performer agreed to collaborate with his mother, Irina Krug, for a show. This potential collaboration was described as a higher-stakes arrangement that would blend two generations of performers while also shifting the event’s financial framework. The discussion highlighted how negotiations around fees can reflect broader questions about value, branding, and audience expectations during peak celebration periods.
Earlier, Syabitova addressed accusations of commercial motives surrounding the Krug family performances. The discourse around these salary figures and partnership proposals formed part of a larger debate about authenticity, commercial viability, and the pressures of sustaining a legacy in a competitive entertainment market. The situation underscores how celebrity names can influence pricing dynamics, even as critics call for performances that prioritize artistic quality and genuine audience engagement over branding incentives or parental fame.