The Bi-2 lead vocalist known as Leva, whose real name is Yegor Bortnik, has stated that he will not return to Russia. He left a remark on an Instagram post, a platform whose ownership is tied to a company accused in Russia of extremism and now banned there. The exchange appeared after a follower asked the musician when the band might announce new performances inside Russia.
Leva wrote plainly, I will not return to Russia. In another comment, he suggested that Russia tends to claim every achievement as its own, a statement that sparked discussion among fans and observers alike.
Earlier, Bortnik publicly supported canceling a concert that had been planned for Moscow’s Luzhniki stadium. Ticket buyers from the group’s fan base were promised refunds for their purchases, a move that left many supporters disappointed but understanding of the broader context surrounding the decision.
Presently, the artists are on a global tour, performing in major cities across North America and beyond. Their itinerary includes San Francisco, Los Angeles, Houston, Chicago, Washington, Boston, New York, and several other stops as they continue to share their music with audiences around the world.
Last year brought a separate cancellation in Omsk, where local authorities indicated the group declined to perform under a banner reading Za President against the backdrop of the Russian tricolor. The incident added to a pattern of tense interactions between the band and domestic organizers, shaping public perception of the act in Russia and abroad.
Across interviews and social media posts, fans and critics alike have observed how the band navigates international tours while weighing responses to political climates in its home country. The decision not to perform in Russia, paired with cabling comments about national achievements, has intensified conversations about artistic freedom, censorship, and the responsibilities of public figures who perform on global stages. As the tour continues, observers in Canada and the United States are watching closely to see how the band balances artistic expression with the expectations and sensitivities of different audiences. In many cases, this involves translating the band’s sound and message to diverse cultural contexts while maintaining the integrity of their work.
For supporters outside Russia, the situation highlights a broader tension facing performers who operate at the intersection of art and politics. The choice to perform abroad can be framed as a statement about where artists feel valued or safe to present their work, while those in the home country may interpret such actions through the lens of national sentiment or cultural policy. In this context, the Bi-2 narrative becomes part of a larger discussion about where music meets lived experience and how fans respond when a beloved act makes decisions that affect live appearances and ticketing expectations. As the world tour unfolds, audiences in both North America and Europe are likely to encounter a mix of familiar anthems and new material, delivered with the same energy that fans have come to expect with each performance. The saga continues to unfold in real time, inviting ongoing commentary from critics, commentators, and the communities that rally around this iconic duo of Russian rock.