A Ukrainian singer and the driving force behind the Artik & Asti duo, Artem Umrikhin, is said to have refused to perform in Russia or abroad, according to a Telegram channel cited by Puree. The report frames a deliberate stance: Umrikhin would not return to Russia, yet he appears to maintain a revenue stream in the country through the duo’s associated artist, Sevil Velieva. The channel asserts Velieva continues to tour Russian cities under the Artik & Asti brand, suggesting a split in live appearances from Umrikhin while keeping the brand active in the local market.
The same source claims that Velieva’s appearance in Moscow and other capital cities can fetch substantial fees. As quoted, a single concert in the capital allegedly brings in about 4 million rubles for Velieva, with performances abroad commanding around 6 million rubles. The figures, if accurate, would indicate a well-structured arrangement where earnings from performances funnel through the group’s business network while the artist operates under the Artik & Asti banner.
According to the channel, a sizable portion of the proceeds is routed to Umrikhin via Russian production companies Self Made Publishing and Self Made Music. The report further alleges that the singer does not declare income from the venture, instead focusing on expenses related to the business operations. Such a claim, if verified, would touch on the broader questions of transparency and compliance within entertainment enterprises that operate across borders and jurisdictions.
Earlier inquiries from January 2023 pointed to Umrikhin and his family relocating to Dubai, a move discussed in contemporaneous coverage as a step that coincided with an interruption in concert activity within Russia. While Umrikhin reportedly paused performances on Russian soil, Velieva allegedly continued to perform in the Federation and joined tours in international venues alongside her colleague. This pattern paints a picture of a split schedule where one half of the brand concentrates on international appearances while the other remains active locally.
In related entertainment news, there have been prior reports about other artists who altered touring plans due to various constraints. For instance, Arbenina was mentioned in connection with a separate set of tour adjustments, including cancellations in regions such as Yuzhno-Sakhalinsk and Vladivostok. These instances illustrate the broader context in which touring artists navigate localization of performances, brand partnerships, and the management of income streams across national borders.
The situation described by the Telegram channel raises questions about how modern music brands manage cross-border activities. It highlights the potential for complex revenue flows that involve individual artists, production companies, and brand entities across different markets. Observers note that public discussions around earnings, declarations, and operations in multinational entertainment clusters can quickly become controversial, underscoring the importance of clear contractual agreements and transparent accounting.
From a governance perspective, the Artik & Asti project presents a case study in how a duo’s brand can persist even when an original member adjusts touring commitments. The interplay between solo ventures, brand licensing, and contractual arrangements with performance venues can create a mosaic of revenue streams that support both the continuing brand presence and the individual careers involved. Industry analysts often emphasize the necessity for precise disclosures, especially when earnings pass through multiple legal entities across countries.
While the channels broadcasting these claims may cite specific sums and corporate intermediaries, readers are reminded to consider the reliability of unverified reports. The music business frequently features rumors and unconfirmed figures, and official statements from the artists or their management teams are the most trustworthy sources for clarifying touring plans, income reporting, and brand stewardship. In the absence of formal confirmation, the narrative remains a developing story that requires cautious interpretation and ongoing verification with credible industry sources.