Kevin McCoy on Germany, Spain and Russia amid income checks
Kevin McCoy, once the frontman of Bad Boys Blue, relocated from Germany to Spain after saying that ongoing scrutiny by authorities over his earnings forced his hand. The account, relayed by HABER.ru, frames the move as a response to persistent inquiries into where his money comes from and how it is earned. The veteran singer notes that cross-border touring can trigger complex regulatory questions, making it harder to focus on music and performances. The decision to settle in Spain appears tied to the desire to pursue his art without being bogged down by protracted financial inquiries, especially as his work spanned concerts in Russia and other countries. This transition underscores how financial oversight across borders can shape where artists live and continue their careers, even for those with decades in the business.
HABER.ru reported that McCoy told the outlet that when money is flowing and spirits are high, government agencies step in with checks about the money trail and the methods used to generate income. The remarks cast the scrutiny as intrusive yet routine for performers with multi-country earnings. The artist suggested that such investigations could complicate creative planning and touring schedules, particularly for musicians who draw income from performances in Russia. The narrative hints at a wider pattern where regulatory regimes in different countries influence the daily realities of touring artists and how they manage their finances while trying to sustain a global career.
McCoy acknowledged living in Germany for many years but said he gradually grew less fond of the country. He claimed that German authorities did not welcome the income he earned from concerts in Russia, which reportedly led to hours of questioning. This atmosphere, he implied, contributed to his decision to leave. He also pointed to numerous other problems in Germany and described the economy as being in decline, a situation he linked to broader pressures affecting residents and foreign entertainers alike. The comments paint a picture of a musician navigating a shifting regulatory landscape while sustaining a busy international touring schedule under a cloud of financial scrutiny.
On October 16, McCoy stated he loved Russia from the stage prior to a Moscow concert, emphasizing that he had been visiting the country for thirty years. The event drew participation from notable Russian celebrities, including Prokhor Chaliapin, Kai Metov, Natalya Gulkina, Anna Kalashnikova, and others, underscoring the cross-cultural connections that have long accompanied his work. The sincerity of the stage remark added a personal dimension to the ongoing discourse about cross-border artistry, audience reception, and the enduring appeal of performing in Russia for foreign artists with long-running ties to the country.
Earlier reports indicated that comedian Dmitry Gavrilov was fined for discrediting the Russian military, illustrating the legal risks public figures may face in discussions that touch on political topics. The incident highlights the broader environment in which entertainers operate in the region, where public statements can intersect with legal and political boundaries. Taken together, the narratives surrounding McCoy, his Moscow appearance, and the surrounding media coverage reveal how cross-border careers are shaped by regulatory scrutiny, personal affiliations, and the evolving cultural landscape of contemporary Russia and Europe.