Olga Buzova faced questions about her new track Made in Russia and its resemblance to Elena Vaenga’s I Wish. Rather than avoiding the topic, the singer explained that this kind of similarity happens in music when a song is built on a handful of notes and shared rhythmic impulses. She openly expressed respect for Vaenga, stressing admiration and portraying the overlap as a natural byproduct of musical structure rather than an attempt to copy. She noted that there are only seven notes in the basic scale, and many melodies can move within that same frame while still carrying a distinct character. The view she offered combines humility with a practical understanding of how melodies flow across cultures, genres, and languages. The idea resonates with music fans in Canada, the United States, and beyond, who know that a track can feel connected to others without losing its own voice. The stance was clear: similarities are not a crime; they are part of a shared language among artists who work within limited tonal options yet strive to deliver something fresh, expressive, and memorable. The focus went beyond ownership of a tune and toward the emotional energy each listener takes from it, whether heard in a living room in Toronto, a kitchen in Seattle, or a studio in Vancouver.
She elaborated on the seven notes premise, saying those fundamental tones form the backbone of countless compositions. The way a melody feels depends on arrangement, tempo, rhythm, and how voices interact. She stressed that there is nothing criminal about a shared mood in music: listeners connect to one artist’s energy while others respond to a different expression, and that is simply a matter of taste. She affirmed that beauty is in the ear of the beholder, and public commentary will always reflect different hearing experiences, schedules, and personal associations. The remark was not about claiming exclusivity but about acknowledging that common patterns can invite appreciation rather than controversy. It also hinted that public conversation can elevate a track, inviting audiences to revisit old favorites and notice influences they might have missed. In this light, the response to Made in Russia can be seen as reassurance for fans who worry about copying, suggesting that artistic dialogue thrives when artists draw from a shared musical language.
Following the release of Made in Russia, the track drew attention from fans and commentators who noted it shares sonic landmarks with Elena Vaenga’s I Wish, even as it carries its own national pride and contemporary energy. The discussion also brought Shaman into the frame, illustrating how listeners in the United States, Canada, and other regions follow cross pollination between pop and traditional influenced sounds. The blend of modern production with hints of folk melodies created a backdrop where comparisons feel almost inevitable for audiences sampling music across streaming platforms. Some listeners praised the track for its energy and delivery, while others considered the resemblance a reminder of how a global audience interprets tonal palettes. Regardless of the mixed opinions, the conversation reinforced the reality that artists often act as bridges between styles, and Made in Russia sits at an intersection where regional pride, rhythmic drive, and melodic turns converge for listeners across North America as well as other markets.
Earlier remarks touched on the pressures performers face regarding image and wardrobe. The artist described an era in which what is worn on stage becomes a focal point of public scrutiny, and she suggested that this climate shapes decisions around appearance. In this context, the discussion around Made in Russia and its reception extends beyond notes and lyrics. It touches on how artists navigate visibility, branding, and authenticity while meeting fans’ expectations in fast moving media environments. The overall message emphasizes resilience and the importance of focusing on music and performance rather than getting tangled in fashion politics. The singer’s stance invites audiences to consider the art itself as the primary signal, with style acting as a contextual frame rather than the sole measure of value.