Timur Rodriguez reflects on the program he has designed and the preparation time. He notes that nearly ten years have passed since the last concert at the Ermolova Theater, and that this interval has become a chance to align his music with a long held dream. He aims to craft performances that embody the music he has always wanted to play and to ready himself for a new era of life and creativity. His public voice now feels entirely connected to his inner self, and he believes he is moving in the right direction.
Rodriguez has spent more than two decades in the Russian entertainment industry, a span that has shaped a broad audience. When people switch on the TV or step into a hall for his show, they leave with a lasting surge of positive energy. Children and adults alike respond to him, and their appreciation spans generations. Within his musical persona, those who appreciate personal irony, richly textured lyrics, and the warm resonance of wind instruments find a particular affinity with his work, and Rodriguez imagines that pressing play should fill listeners with sunshine rather than gloom.
In the world of show business, Rodriguez embodies the archetype of the entertainer. He sings, dances, hosts, and lends his voice to cartoons, and he feels comfortable in each role. He believes his audience understands where his strengths lie better than anyone, and he does not like to boast about himself. He approaches every endeavor with effort and sincerity, jokingly noting that a tombstone inscription would be impressive, in part because he values his craft across all formats.
Has he ever wanted to settle on one single pursuit? He answers that such a simplification has never appealed to him. He has always found value in exploring many facets of art and performance, and he believes viewers sense that these efforts are driven by genuine love for what he does, not by a craving for prestige.
The current media landscape makes it easy to misstep with humor. Rodriguez observes that the present moment is challenging because many people feel entitled to their opinion, turning ordinary discussions into public performances. This climate of doorstep debates tends to fuel crowds that crave attention and can threaten empathy and understanding. The key is to resist knee-jerk condemnation and to strive to understand underlying motives instead of rushing to judgment.
There are topics that should never be joked about, he contends. He cites a lineage of bold comedians who touched sensitive topics without aiming to offend, using humor to challenge prejudice rather than to wound. He also notes that even public figures can be self-deprecating, as Stevie Wonder often playfully mocks himself. The example most often referenced, in his view, is the controversial coverage around Charlie Hebdo, a reminder of the line between risk and harm in comedy.
Reaction from audiences is rarely predictable. Rodriguez concedes that an artist cannot 100 percent anticipate what a crowd will take away from a performance. Whether through jokes, dance, song, or dialogue, meanings are sometimes missed. The decision, he says, is to serve a broad audience while remaining true to those who will think deeply about the work and perhaps appreciate it more than the numbers suggest.
As an entertainer, Rodriguez makes it a rule to perform at full capacity, regardless of personal energy levels. The mission remains the same whether the event is a paid concert, a corporate function, a charity gala, a prestigious gala, or a family gathering. There is no difference in the commitment to delivering quality artistry from A to Z.
On his hopes for cinema, Rodriguez confirms a growing interest in serious film projects. He has begun actively pursuing cast opportunities and finds the process exciting, even if it requires a shift in caliber. He believes the right project will demand transformation and offer something beyond easy roles that require little change.
This season, he presents Brighter than the Stars on TNT, the Cities League series, and Yoldaş Gezgin on NTV. He emphasizes that he must remain himself across each program, having saved the essential energy for these projects over many years. He is not merely the host; in Brighter than the Stars he brings transformation, in Cities League he wields a witty, versatile persona, and in Comrade Traveler he is a seasoned traveler with a long list of remarkable places.
The travel series Yoldaş Gezgin is not his first such project, and Rodriguez jokes that counting how many countries he has visited is a challenge. He is confident he will double that count in the coming years.
During The Fellow Traveler, the most trying moment arose when the scales welcomed him on arrival. The joy of tasting diverse national cuisines could quickly turn into months of demanding preparation, and the reality of unloading and planning for the next season loomed large.
What stands out as his most memorable trip? He does not name a single journey. Instead, he recalls that the series Comrade Traveler makes every trip unforgettable for him and for the ordinary viewers who accompany him. Their shared experiences and the perspectives of the traveling companions transform how they see life and their goals. The moment is priceless when happiness spreads through the faces of those who join him on the road.
Flamboyant hats are a familiar sight for Rodriguez, and he has a fond story about the first hat he wore. His earliest hat belonged to his father and was far too big, suited for home performances more than stage shows. He bought his first real hat with his first scholarship, spending his last ruble with a remarkable sense of joy. It was a striking black hat, reminiscent of the one Michael Jackson wore on stage and in videos, produced in the Moscow region at a factory in Zavidovo, and it became something to envy in its own right.