In Novosibirsk, city officials faced questions about ties to a well-known European metal group, with mayor Anatoly Lokot explicitly stating that he has no connection to the German act known as Rammstein. The clarification came through a statement reported by aif.ru, which noted Lokot’s personal stance on the matter and his admission that he does not follow the band’s work. This separation of political leadership from artistic branding was highlighted as the city prepared for a controversial cultural event amid ongoing regional tensions.
Lokot articulated a clear boundary between his municipal responsibilities and the international music project linked to Rammstein. He explained that he does not have prior familiarity with the band’s material, implying that any public interpretation or reception of the concert should be understood independently of his office. The remarks were presented as part of a broader effort to shield local governance from external opinions about artistic choices during a period of heightened national security concerns.
Earlier, on September 18, Radetel, a Siberian human rights group, approached the city administration with a request to cancel a performance at the Novosibirsk House of Scientists related to the CAGMO Orchestra. The proposed program was to feature orchestral renditions of Rammstein songs, and the event was scheduled for September 21. After a rapid sequence of developments, the concert was ultimately called off on September 19 as plans moved forward under mounting scrutiny from various civic actors.
Social activists from Radetel voiced objections to staging Rammstein’s repertoire in Novosibirsk during a period marked by a military operation abroad. They argued that the band members were openly opposed to Russia and had engaged in activities that could undermine public confidence in the armed forces, a claim presented within a broader debate about the cultural signals a city would emit during a time of conflict. The activists’ concerns reflected a larger conversation about how cultural events intersect with national sentiment and political circumstance.
Information later indicated that a modified schedule would still bring Rammstein pieces to a performance at the symphony orchestra. The initial September 24 venue at the Thoratau Convention Hall in Ufa appeared to be the new focal point of the arrangement, though it faced the same wave of public interest and potential disruption as the Novosibirsk date. The shifting plans underscored how organizers balanced artistic programming with the expectations of local communities and the appetite for controversy during sensitive periods.
Statements from the Toratau organization confirmed that the CAGMO company, the event’s organizer, had officially announced the cancellation of the performance in the face of sustained pressure from civic groups. Orchestra representatives indicated that the campaign against the concert had intensified since the tour’s late July kickoff, suggesting that public advocacy and political considerations were shaping the itinerary more than any traditional artistic timetable. This sequence illustrated the practical challenges faced by organizers when cultural offerings intersect with public opinion and political climate.
Earlier coverage also touched on comments from Bezrukov regarding the early experiences of new directors in the cultural scene. The conversation about leadership transitions and organizational decision-making framed the broader discussion around how cultural institutions respond to external pressures while trying to maintain artistic integrity and audience engagement in a volatile environment. The overall narrative connected leadership choices, civic input, and the evolving expectations of cultural programming in a time of national significance. Source: aif.ru