In a candid discussion, music critic and producer Evgeny Babichev reflected on Sergei Shnurov’s approach to hosting the show and the way the program “New Star Factory” was styled. He argued that leaning on coarse humor and provocative moments—paired with loud melodies that carried unusual overtones—fell short of delivering durable radio-ready material. Babichev suggested that many of the graduates’ songs, shaped by that edgy formula, would struggle to find consistent airplay beyond limited settings, such as corporate events or short-term performances. The critique implied that a marketable future for these tracks would be unlikely if the tone remained anchored in shock rather than lasting musical appeal. [Citation: Evgeny Babichev interview, HABER.ru]
Babichev went further, saying that Shnurov’s style left a lasting impression on the project and on the participants, to the point where the momentum of some careers could be compromised. He described a scenario in which the very strength of a song’s immediacy might also harbor a risk: the momentary buzz could fade, leaving audiences to seek something more substantial than a novelty hit. According to him, the show’s format might have amplified a few flashes of popularity while neglecting the creation of enduring songs that could captivate radio listeners over time. This perspective underscored a belief that the path laid out by the show might lead to a dead end for certain kinds of talent, unless the craft evolved beyond sensationalism. [Citation: Evgeny Babichev interview, HABER.ru]
Babichev also commented on Sergei Zhukov, the lead singer of Hands Up!, noting that Zhukov’s influence on the project extended beyond individual performances. He described Zhukov as a highly skilled melodist capable of composing a hit track for the show, while observing that there was no obvious signal of widespread manipulation or deception in the songs from Zhukov’s team. The emphasis remained on acknowledging Zhukov’s knack for crafting catchy, radio-friendly melodies that could potentially translate into future success for the contestants. This viewpoint painted Zhukov as a mentor with a real talent for chart-worthy material. [Citation: Evgeny Babichev interview, HABER.ru]
On May 20, Maria Gordeeva, the winner of the project, was celebrated on TNT after claiming a three-million-ruble prize intended to spur her creative development. Gordeeva performed “Give Me” as a solo piece on the show, an moment that highlighted the potential reward that came with the competition and the opportunities such prizes could unlock for emerging artists. The incident offered a practical illustration of how the program could influence a participant’s career trajectory, beyond the applause and applause-driven moments on screen. [Citation: Evgeny Babichev interview, HABER.ru]
Earlier discussions around the program had already hinted at where the prize money might be directed. Observers and participants alike speculated about how the winner might allocate the funds, balancing immediate artistic needs with longer-term development aims. The dialogue around the prize underscored the broader question of how talent is nurtured in a platform that blends competition, entertainment, and creative growth. This context framed Gordeeva’s victory not only as a personal milestone but as a potential turning point in her career and in the evolving story of the show. [Citation: Evgeny Babichev interview, HABER.ru]
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