A previously announced Little Big concert in Yerevan has been cancelled amid concerns about public safety. Information shared by the group on its social media channels indicates that the organizers could not guarantee a secure environment for attendees, prompting the decision to halt the event. The show that was slated for August 12 will not go forward, and refunds are being arranged for ticketholders within a 14-day window. This update comes as organizers and fans react to the disruption and seek clarity on what happened and what comes next.
From the perspective of the performers and their management, the cancellation was a difficult but responsible choice. They expressed regret for the inconvenience caused to fans and promised a smooth process for returning purchases, emphasizing that safety considerations took precedence over festival timing. The statement underscores a common tension in live entertainment when security assurances cannot be met, especially in international settings with diverse jurisdictions and audience expectations (official statements from Little Big representatives, credible entertainment outlets).
Separately, local cultural institutions have signaled potential legal actions related to a separate incident linked to the same artist, Ilya Prusikin. The Holy Armenia Cultural Center has announced plans to file a complaint with the local prosecutor’s office, citing an act described as desecrating religious symbols. The accusation centers on a video in which Prusikin uses a skateboard fashioned as a cross, a choice critics say disrespects Christian symbols and offends believers. This event has sparked discussion about how performance art interacts with religious sensitivities in public venues (reporting from Armenian cultural watchdogs and local media notes).
Context matters. Prusikin, who has relocated to the United States in the wake of geopolitical developments, previously posted about his movements and artistic experiments on social platforms. Reports indicate that in January he shared footage showing a skateboard shaped like a Catholic cross, an act that drew reactions from different audiences across Russia, Armenia, and beyond. Observers point to the intersection of art, satire, and public symbols as a flashpoint for debate about boundaries in contemporary performances (observations from social platforms and regional press coverage).
As these discussions unfold, other notable public figures have entered the conversation more indirectly. For instance, a well-known performer associated with the Bolshoi Theatre attracted attention when a public comment appeared on an online post, illustrating how cultural institutions and celebrities navigate the line between endorsement, commentary, and provocation in contemporary media environments. This linkage highlights how statements and actions by public figures in the arts can reverberate through multiple audiences and communities (media commentary and cultural discourse notes).
In the larger picture, the events surrounding Little Big’s activities in the region touch on several recurring themes in modern entertainment: the responsibility of organizers to ensure safety at live events, the volatility of international tours, the influence of public symbols on audience perception, and the evolving role of artists who operate across borders. Fans and critics alike are paying close attention to how venues, performers, and management teams communicate during moments of controversy, and how refunds or policy adjustments are handled in a transparent, timely manner (industry practices and audience reactions discussed in entertainment analyses).