Industry figure Maxim Fadeev has publicly pressed for ongoing legal action concerning the ownership of songs associated with Nargiz Zakirova, urging the artist to address the disputes through formal court processes. He also invited organizers who host her performances to post clarifications on Telegram channels, signaling a broader effort to ensure transparency in the use of his catalog. Fadeev’s statements reflect a persistent strategy: pursue every avenue to safeguard what he considers his musical property, including direct appeals to audiences and event organizers alike.
Fadeev recounted that following the termination of his contract with Nargiz in August 2019, the artist allegedly prohibited him from creating works derived from his catalog. He further stated that after a May concert in Alma-Ata, he filed a lawsuit in the Bostandyk District Court, alleging the unauthorized use of songs that he claims belong to his catalog and were performed without proper authorization. The legal action underscores a long-running dispute over rights and royalties tied to material associated with the performer.
In a public message, Fadeev expressed a clear warning to Nargiz Zakirova and to future concert organizers: he and his legal team would pursue all viable options without exception until the artist recognizes that taking material without permission constitutes theft. He noted that he had already sent demands to a venue in connection with a July 27 concert in Tashkent, requesting that the site refrain from presenting Fadeev’s songs without clearance. This statement underscores the seriousness with which he treats alleged infringements and his readiness to escalate matters through litigation and public notices.
The producer reflected on a moment that, in his view, marked a dividing line: a public comment attributed to Nargiz about Russia and its people. Fadeev described this remark as a turning point that contributed to a decision to restrict the artist’s access to Russia for an extended period. He questioned why songs in the so-called enemy language of Russian continue to dominate her repertoire, suggesting that this choice reflects a contentious stance toward the country. The remarks, according to Fadeev, had real consequences that affected his ability to work in certain markets and shaped his ongoing approach to protecting his creative rights.
Fadeev contends that an apology from Nargiz for the statements directed at him, and a decision to curb criticism of Russia, would be the appropriate steps moving forward. His stance emphasizes a broader tension in the music industry between artistic expression, national sentiment, and the enforcement of rights across borders. The stakes extend beyond individual grievances, touching on how rights holders defend their catalogs while navigating international venues and audiences in North America and beyond.
In a related note, Fadeev cited a June declaration that he described as a gesture of respect toward a fellow artist, suggesting that professional considerations and mutual regard can coexist with legal and commercial disputes. The broader conversation touches on how collaborations and disagreements among artists, managers, and producers are managed when markets and audiences span multiple countries, including the United States and Canada.
The situation also echoes past dynamics within the industry where prominent figures have publicly addressed disagreements about artistic rights and international travel. The ongoing discussion illustrates how disputes can influence touring, licensing, and the exchange of music across different legal jurisdictions, shaping how artists, producers, and venues navigate copyright and performance rights in a global market.