— An initial update asks how things are progressing with the Fields festival this year.
The organizers explain that the festival did not occur last year due to the pandemic. It was postponed to August 4–7, 2022, with plans to refresh the lineup and renegotiate with previously approved artists. A mid-February update was intended, but at roughly the same time the conflict in Ukraine intensified.
Even before events began, a sense of unease circulated. Some artists indicated they might withdraw if the conflict worsened. Warnings sounded, yet the team hoped for a positive outcome. In the early days, a number of musicians refused to perform regardless of circumstances, prompting a cautious, wait-and-see stance. The festival team could only hope for the best.
Contracts with venues and partners remained in place. Foreign brands expected to sponsor the festival faced uncertainty, and alongside sponsors, cultural institutions such as foundations and embassies linked to European countries participated. Even if these entities managed to operate, it did not guarantee work for artists from those countries.
– If the festival takes place, will the program require substantial changes?
– The organizers say they have already adapted to this scenario. While foreign participation may be limited, they emphasize a commitment to diverse, global music. Historically, the festival has showcased eclectic, unexpected sounds from around the world, including artists from Egypt, Iran, Argentina, and Indonesia. Expanding the geographic reach remains a goal, now with a focus on musicians from countries not engaged in a cultural boycott of Russia.
– The cultural boycott reflects a stance of states and individual artists alike, so official diplomatic ties do not automatically guarantee participation from all artists.
– Signal Festival, which curates the music program, has not yet issued a statement about holding the event. Is the team simply waiting it out?
— The festival continues to be prepared. It is noted that Signal has faced difficulties in recent years, yet there has never been a cancellation or postponement in its five-year history.
– Have guests been returning tickets en masse?
– Some attendees are returning their tickets for financial reasons. The current climate has affected livelihoods and spending power. Even without personal loss, many are faced with tighter budgets and growing costs. Real money becomes the priority as people juggle essential expenses.
Speaking of Fields, there is interest in whether the festival could operate with a line-up of Russian musicians alone. What is the business viability of such a plan?
– The organizers acknowledge that even before the upheaval, there was no pressing need for foreign artists. From a purely musical perspective, a lineup could be built around a large pool of Russian talent. The speaker estimates that 100–150 Russian artists could be assembled based on current taste and experience.
Yet there is a strong curiosity about music from beyond Russia. Living in a global community means not closing doors. The plan is to strive for collaboration with artists from countries where cultural exchange remains possible.
Festivals like Fields rely on foreign acts because the Russian music scene is still developing in this niche—avant-garde, electronic, and authorial pop. Media reach for Russian acts in this style is limited; foreign headlines sometimes serve as a strategy to attract larger audiences, which is why international guests are valuable, even if not strictly essential.
That said, given today’s realities where high-profile collaborations have dwindled, foreign appearances may carry less weight than before.
– What about the refusal by foreign artists to perform in Russia for political reasons? Is this a momentary reaction or a longer trend that could stretch for years?
– The situation is reminiscent of past controversies involving international artists. Some cancel tours or appearances due to external pressures, while others continue to perform at select festivals. There will always be figures who resist the prevailing narrative and stay true to their artistic projects, even when it is difficult to align with the broader political climate. In many cases, artists balance personal principles with their audience’s expectations.
– Is there any positive angle to cultural isolation? Could new generations of artists seize the chance to express themselves?
– The shift has pushed many Russian artists to neighboring countries. Budgets for imports rise, while there is a fresh reality of touring Russian musicians domestically. The ruble’s volatility also shapes pricing, potentially increasing salaries as artists seek fair compensation. Artists increasingly rely on social networks to promote their work, and many still engage with audiences abroad, despite restrictions. International marketing remains essential for a full artistic footprint.
– What about the role of supporters in these times?
– Supporters remain crucial. There are organizers who stage festivals and others who host smaller concerts. While some cannot participate, many find ways to sustain the cultural scene, driven by a sense of duty to keep music alive.
– How do you and your colleagues feel about the industry’s trajectory?
– The early weeks were exceptionally tough, with a sense of the world unraveling after years of effort. History shows resilience; for instance, during earlier economic downturns, imports and ticket prices adjusted, yet festivals continued. A stubborn, devoted culture of supporters has always existed in Russia. It takes urgency, but it also thrives on adaptation.
In recent times, a strong pre-sale culture emerged among organizers. The pandemic then caused a setback, and curfews plus restrictions reshaped buying behavior. As the situation eases, the industry eyes gradual recovery, even if ticket buyers remain cautious. The authorities’ decisions on venues and attendance also influence this recovery trajectory. The hope is steady progress, even if the path remains precarious. The field now navigates a delicate balance between risk and opportunity.