The frontman known for the so-called “accident” has declared a bold promise: I will rise. He confirmed that the Samara show was canceled, but he did not receive an explanation from organizers.
According to the artist, only the event organizers can provide comments, and he personally does not know the reason behind the cancellation. His manager is said to be aware of the situation but is not getting involved in the administrative aspects of the matter.
The performance was scheduled for November 29 at the Kowalski Club.
During a conversation captured by the outlet Paragraph on October 17, activist Vitaly Borodin called for canceling Alexei Kortnev’s concert over his public stance on Russia’s actions in Ukraine. Borodin mentioned that the musician was preparing to seek an appeal from the governor of the Samara region.
Borodin argued that if the artist condemns the special operation and does not express support for the country, the discussion would be inappropriate. He suggested that Kortnev should halt all concerts until his position becomes clear. If he aligns with Ukraine, Borodin said, he should speak there instead.
In a separate development reported recently, Borodin stated that his 13-year-old son Artem had been attacked in Barvikha. The confrontation stemmed from a playground dispute over an electronic cigarette. Borodin described how Artem was assaulted at school by the adolescent’s stepfather, receiving a head injury and threats that included harsh sexual violence.
In another update, longtime performer Gazmanov commented that he is glad the colleague SHAMAN has achieved greater popularity. The sentiment reflected a sense of competition and admiration within the music community.
These events illustrate how public expressions on national policy can ripple through the entertainment world, affecting performances, management decisions, and even the safety of artists and their families. The Samara incident underscores the tension between creative expression and regional governance, while the Borodin case highlights the volatility surrounding public disagreements in contemporary discourse. Observers note that cancellations often follow a mix of logistical concerns and political pressures rather than purely artistic reasons. The dialogue around these issues continues to unfold across media outlets and social platforms, shaping the public conversation about accountability, free expression, and the boundaries of protest in music.
As the industry follows these developments, fans and critics alike await clarifications from concert organizers and from regional authorities. The situation remains indicative of the broader climate in which artists operate when their public statements touch on sensitive geopolitical topics.