Lyricist Mikhail Shabrov voiced strong criticisms of contemporary singers during a speech for aif.ru, expressing a clear disinterest in the direction of modern song poetry. He argued that much of today’s lyric writing is driven by graphomaniacs, writing for sheer volume rather than meaningful craft. In his view, the lyrics of Anna Asti and Klava Koki did not resonate with him, and he labeled Zivert’s songs as nonsense and empty noise. He suggested that the current style lacks depth and thematic unity, and he criticized the overall cultural standard of the genre, implying that the distinctive artistic voices of earlier generations had faded from public memory. He pointed to a trend where the names of lyricists or the artistry behind the words seem less important than brand names and catchy refrains. The sentiment was that the craft has become overloaded with superficiality, and the substance behind a song sometimes feels lost in transit between performance and hype. The public persona of a few popular acts may overshadow the broader tradition of strong lyric writing, according to Shabrov, and he implied that the artistry of true wordsmiths has been diluted by modern presentation and marketing pressures. The veteran lyricist framed this critique as a broader cultural observation, noting that the voices most associated with modern pop now carry labels and stage names that can eclipse the creators who actually write the words. He emphasized that the most recognizable signals are stage identities rather than the depth of the text itself. The discussion underscored a sense of disappointment with the current lyric landscape and a longing for more substantive and culturally rooted songwriting, as opposed to the current emphasis on style, tempo, and image. The remarks also touched on how some critics have interpreted stylistic choices by contemporary performers, including claims that certain vocal techniques were adopted to exaggerate or simplify pronunciation. The point, as presented, was not simply a matter of taste but a concern about whether the essence of lyric poetry is being preserved within the popular music sphere. The overarching theme was a call to consider what constitutes meaningful lyric writing in a modern context and who should be responsible for maintaining the integrity of the craft within a fast-changing musical scene. In this view, the conversation turns to how audiences experience songs today and what they expect from words that accompany melodies. The discussion also referenced several widely known figures in the industry and suggested that recognition often rests with performers rather than the poets who shape their songs. The claim pointed to a broader pattern where performers become the focal point while the lyricists work behind the scenes, a dynamic that Shabrov believes risks diminishing the appreciation for lyrical workmanship. The commentary further recognized that the field has produced enduring collaborations with celebrated artists such as Sofia Rotaru and a roster of other vocalists and bands, whose work has historically elevated the status of lyric writing. In closing, Shabrov’s reflections invite listeners to consider a standard by which modern lyrics should be judged, urging a return to thoughtful phrases, consistent themes, and a deeper cultural literacy that extends beyond catchy hooks and commercial success. The discussion remains part of a larger dialogue about the evolution of song poetry in contemporary music and the ongoing debate about artistic depth versus mainstream appeal. The exchange underscores the tension between popularity and craft, a tension that has long animated conversations about modern lyricism and its place in the cultural fabric. The commentary also referenced public figures known for promoting and defending certain lyrical traditions, highlighting how debates about lyric quality sometimes spill over into conversations about public taste and the role of media in shaping perceptions of art. The remarks linger as a reminder of the historical role of lyricists in shaping the emotional and intellectual landscape of popular music, even as the industry continues to evolve with new styles and voices. They also touch on how critics and fans alike measure a lyricist’s influence, not just by the success of a single song, but by the enduring resonance of words that accompany melodies across generations. The broader implication is a call for renewed attention to the craft that connects poetry and song, encouraging writers and performers to aspire to a standard where lyric meaning and musical expression reinforce each other in a compelling way, rather than drifting apart in pursuit of trendiness. Attribution: aif.ru.
Shabrov is recognized for his extensive work as the author of many songs performed by Sofia Rotaru. His poetical contributions span collaborations with a diverse roster of artists, including Joseph Kobzon, Lev Leshchenko, Renat Ibragimov, Irina Ponarovskaya, Alexander Buinov, Alexei Glyzin, Soso Pavliashvili, Nikolai Karachentsov, Mikhail Boyarsky, and the vocal-instrumental ensembles Flame, Gems, and Na-Na. His body of lyrics has helped shape a significant portion of a generation’s musical landscape, aligning his name with a legacy of enduring performances. These collaborations reflect a long-standing tradition in which lyric writing and performance are closely intertwined, producing songs that have become part of the cultural memory for many listeners in Russia and beyond. The discussion around his views thus intersects with an appreciation for the history of lyric craft and the ongoing dialogue about its relevance in contemporary pop culture. Attribution: aif.ru.
Earlier, Sergei Shnurov commented that Zivert would not win the show on the program The Voice, echoing a separate opinion within the industry about the competitive dynamics of televised singing contests and the factors that drive success for modern artists. Attribution: aif.ru.