Sergei Troitsky, widely known by his stage name Spider, leads the thrash metal group often referred to as Corrosion of Metal. He was detained in the capital after an incident at the Oktyabr cinema, where authorities later noted he had been consuming alcohol in a public space. Troitsky spoke about the event in an interview with TASS, offering his account of the night and the sequence of actions that followed.
According to Troitsky, the group performed in front of a crowd that included the premiere attendees for the film Brother-3. He recalled that the gathering featured a noticeable presence of beverages, including vodka, which were sold inside the cinema bar. The atmosphere was charged, with fans and band members sharing a moment that blended live music with a cinematic event. What began as a celebration soon shifted as security personnel intervened, guiding Troitsky and several others away from the stage to a backstage area, reportedly after signs that alcohol consumption had occurred in the public space of the venue. The subsequent decision by the authorities to involve police followed the on-site measures taken by the cinema staff and security team.
In statements issued after the incident, Troitsky asserted that the group was confronted with accusations of drinking in public, a claim he challenged by pointing to the cinema’s own beverage service as evidence that alcohol was readily available to attendees. The exchange highlights how beverage policy and crowd control can intersect in a setting that blends entertainment with a public venue. The police confirmed that Troitsky was taken into custody on grounds connected to disturbances of public order, but they did not provide further details, leaving room for discussion about the precise nature of the disturbance and the applicable local regulations. The case illustrates how public order rules are interpreted in live event environments, particularly when a performer is involved and the line between celebration and disruption can seem finely drawn to observers and participants alike.
Additional background about the individuals mentioned in related reports adds layers to the broader context. Alexander Lazorevich, identified as the first leader and vocalist of the rock ensemble originally known as Metal Corrosion, was described in prior buzz as having an incident involving the removal of another performer’s vest at an exhibition. Details of this separate event, while not directly connected to Troitsky, contribute to a wider narrative about personalities in the local rock scene and the interplay between public appearances, wardrobe items, and stagecraft that sometimes surfaces in media discussions about contemporary music groups. Such notes underscore how histories within a music community can intersect with public perception during high-profile moments—whether on tour stops, festival days, or cinema-premiere nights.
In another thread of coverage, Katya Lel, a singer frequently cited in entertainment commentary, was quoted in earlier coverage as attributing extraordinary outcomes to unconventional forces. The phrasing reflects how media narratives often draw on memorable, almost mythic phrases to caption stories surrounding prominent artists, events, and moments of cultural tension. The aggregation of these stories shapes a broader conversation about how fans, media, and authorities interpret performances, after-show actions, and the responsibilities that come with being a public figure in a bustling cultural landscape. The incident at Oktyabr cinema serves as a focal point for discussions about venue policies, crowd safety, and the balance between artistic expression and legal boundaries within the Canadian and American audience spheres where similar dynamics frequently occur at live music venues and premiere events.