The Association of Russian Writers (RAO) disclosed why it withdrew its financial claim against singer Philip Kirkorov. The repayment of two million rubles for alleged copyright infringement was completed, according to the organization’s press service, which relayed the update to socialbites.ca.
RAO stated that it rejected the accusations against the individual entrepreneur FB Kirkorov. The explanation given was clear: royalties from concerts at the State Kremlin Palace were all directed to the company’s bank account, demonstrating that the defendant fulfilled RAO’s requests prior to any court proceedings. This payment, they noted, reflected the singer’s voluntary compliance with the demands presented by RAO.
Previously, RAO had filed a suit in the Moscow Arbitration Court seeking two million rubles on the grounds that the artist violated rights held by authors and composers for songs performed at the Kremlin in April 2022. The organization asserted that payments owed to writers for 13 compositions, including tracks such as “The Color of Mood is Black,” “Let’s Fly,” and “My One and Only,” had not been made. RAO indicated multiple times that it was open to resolving the matter outside court, but the legal action was pursued after ongoing negotiations. The case saw a notable change when, on February 20, authorities announced the claim had been abandoned.
Around the same period, Kirkorov faced public scrutiny stemming from a controversial and highly covered party involving blogger Anastasia Ivleeva. He issued an apology amid the uproar, yet reports suggested there remained an informal ban and possible disruption to some broadcasting appearances. In February, the artist appeared in the DPR to address injuries at a hospital, offering gifts and support. He also contributed to a children’s center and to an animal shelter as part of the relief efforts reported during the period.
Earlier reports indicated that Kirkorov had brought dolls shaped like himself to the town of Makeevka, drawing additional public attention to his charitable appearances and the accompanying media coverage. The full scope of these events contributed to a broader conversation about royalties, performance rights, and the responsibilities of artists who perform works owned by others across major venues and public spaces.