Producer Joseph Prigozhin addressed the controversy by commenting during a Krasnoyarsk performance featuring Glucose. His remarks, captured under the moniker Zvezdach, aimed to criticize the artist’s conduct on stage and to underscore the impact on fans and organizers alike. Prigozhin emphasized that the display he witnessed was not an isolated incident and indicated that similar behavior had appeared at other events in the past, prompting him to speak out publicly.
He described the scene as a disgrace and stated that he would not want future generations to witness such behavior from performers. The producer asserted that artists bear responsibility for their actions and warned that a line had been crossed that could not be ignored. He stressed the need for accountability within the industry and suggested that help should be sought when a performer shows signs of distress rather than allowing a situation to deteriorate.
Prigozhin shared that his concern for Glucose extended beyond one moment on stage. He recalled seeing Gluk’oZa at several events and observed she appeared unsettled and far from her usual state of mind. While he could not identify the precise cause of the trouble, he attributed it to factors other than alcohol and indicated that something more troubling might be at play. His plea was for urgent intervention to prevent further harm to the artist.
On July 20, Glucose performed during Metallurgist Day in Krasnoyarsk, a moment that drew sharp reactions from the audience. Reportedly she missed several musical cues and, at one point, touched herself in a way that caused discomfort among attendees. Glucose later explained that the distress stemmed from prescribed medications, including antidepressants and sleeping pills prescribed by a physician to manage stress. The singer linked the incident to the pressures of public performance and the demanding nature of touring life.
In a separate note, Anastasia Volochkova has previously spoken about the early skepticism she faced from a ballet teacher while pursuing her ambitions. The teacher’s doubt is described as part of the larger narrative surrounding Volochkova’s career, illustrating how early obstacles can shape the path of a performer who later achieves recognition.
Together, these events form a complex portrait of how personal struggles and public performance intersect in the lives of artists. They highlight the responsibilities of managers and producers to open channels for support while also drawing attention to the pressures that accompany high-profile careers. Observers note that when a performer experiences distress, timely help is essential to safeguard health and to maintain the integrity of live performances for audiences who invest in the experience. This situation underscores the ongoing conversation about mental health, accountability, and the need for compassionate, professional intervention in the performing arts industry.