A recent interview highlights a sharp clash between veteran Russian rock figures and contemporary bands. The discussion centers on the pop duo Bi-2 and the reasons cited for their rise in popularity. Critics argue that Bi-2 achieved broader recognition after their songs were featured in a well-known film, which sparked debate about whether such exposure translates into lasting musical value.
In the conversation, one prominent former frontman, previously with the group AuktYon, voiced strong opinions about Bi-2 and similar artists. He questioned the appeal of stadium shows in Russia and expressed a clear lack of interest in Bi-2’s body of work. The critic dismissed Bi-2’s voice and lyrics as lacking depth, describing them as unworthy of serious attention. He characterized both poetry and music from the band as inconsequential and spoke with evident frustration about the public’s reception of their music.
The discussion extended to other well-known Russian musicians, including Andrei Makarevich and Boris Grebenshnikov, who have faced scrutiny and designation as foreign agents in the Russian Federation. The critic suggested that the artistic output of these figures falls short of his standards, aligning with his broader assessment of contemporary rock amid political and cultural pressures.
Recent tour developments also entered the conversation. A scheduled Bi-2 performance in Turkey was reportedly canceled, with the event tied to a music festival in Kemer. The decision was presented as a disruption to the band’s international touring plans, reflecting broader tensions that can affect live events abroad.
Earlier in the year, members of Bi-2 faced legal or administrative challenges in Southeast Asia, with authorities in Thailand detaining the artists over work-permit concerns. The Pattaya and Phuket province venues reportedly required proper documentation for performers, and the absence of such permits prompted an official response that impacted the group’s concert schedule. These incidents illustrate the kinds of regulatory hurdles touring artists often encounter in foreign jurisdictions.
In related coverage, support has also been noted for artists who participate in more provocative or unconventional performances. This stance contrasts with the stricter views of some audiences and officials, underscoring ongoing debates about artistic boundaries and cultural norms in the music scene.