In a wide-ranging interview on a YouTube channel hosted by Andrey Kudryavtsev, Sergey Kuznetsov, the composer behind the most recognizable songs from Tender May, spoke candidly about the grim pattern of deaths among members of the famous group. Kuznetsov made clear that he does not view the series of losses as a curse or a supernatural omen. Instead, he pointed to the practical realities of the band’s history and its size, arguing that the high number of participants over the years naturally increases the likelihood of tragic events. This perspective is grounded in ordinary statistical reasoning rather than superstition. Kuznetsov noted that while a typical musical group might feature four or five core performers, Tender May operated on a much larger scale. The ensemble has included well over a hundred people across its various lineups and tours. With more participants comes a greater chance of misfortune, whether on stage, on tour, or in personal circumstances. The composer emphasized that counting incidents against a very large group does not imply any magical force at work; rather, it reflects probabilities that rise as the roster expands. In this view, the troubling sequence of deaths is a statistical inevitability in a large and long-running project, not a curse clinging to the band or its music. What Kuznetsov described aligns with a straightforward approach to risk management in the entertainment industry: the more individuals involved, the more opportunities there are for accidents or tragedies to occur. This is a reminder that behind the public success and the bright melodies lies a human story with its own share of hardship and loss. The discussion also touches on how the public interprets such tragedies. Kuznetsov’s stance invites fans and commentators to consider the reality of life within a widely shared, long-lived project rather than clinging to sensational explanations. The conversation resonates with broader questions about fame, responsibility, and the unpredictable nature of touring life for performers who rise to enduring popularity. In related commentary, music critic Sergey Sosedov floated the idea that younger performers might later perform Tender May’s enduring hits. He suggested that new artists could carry forward the legacy, ensuring the songs remain part of contemporary concert repertoires. This notion reflects a common pattern in pop music, where legacy tracks migrate through subsequent generations of singers, keeping the music alive even as original members move on. For fans who want to linger with the memory of Yuri Shatunov, a symbolic gesture has appeared in some circles, with devotees seeking peaceful remembrance through personal acts of tribute during anniversaries and commemorations. Overall, the exchange presents a nuanced portrait of a group whose music endured beyond its original lineup. It emphasizes a rational explanation for the tragedies while acknowledging the emotional impact on supporters, fellow musicians, and the broader music community. The takeaway is that while Tender May’s story includes sorrow, it is not defined by misfortune alone; it is also defined by the resilience of the music, the work of its collaborators, and the ongoing conversation about how artists navigate life in the limelight. This framing offers readers a balanced understanding of a widely followed musical phenomenon and invites a thoughtful reflection on how fame intersects with human vulnerability (citation: Kuznetsov interview on Kudryavtsev’s channel).
