— First of all, tell us how things are going with the Fields festival this year.
The festival did not take place last year due to the pandemic, so it was postponed to August 4–7, 2022. There was a plan to refresh the lineup and renegotiate with previously approved artists. An updated announcement was set for mid February, but the escalation of the Ukraine conflict shifted those plans. Before events began, a sense of unease showed up. Some artists indicated they might withdraw if the conflict worsened. Alarm bells rang, but the team hoped for the best. In the end, several musicians declined to perform regardless of how the situation evolved, and a wait‑and‑see stance was adopted. The organizers could only wait for clearer outcomes.
Agreements exist with venues and partners. It is clear that some foreign brands expected to sponsor the event raise questions. Beyond sponsors, cultural institutions—foundations and embassies tied to European countries—are part of the picture. Even if their support materializes, it does not guarantee the participation of artists from those countries.
– If the festival goes ahead, will the program need major changes?
– The team has already adapted to this scenario. Foreign artists in the lineup may be fewer, at least initially. To soften the situation, the festival has always celebrated exotic and unexpected music from around the world. In recent years, performers from Egypt, Iran, Argentina, and Indonesia have graced the stage. Expanding the geographic reach of the lineup has always been challenging, but given the current climate, it makes sense to pursue collaborations with artists from countries not aligned with a Russian cultural boycott.
Another point is that a cultural boycott reflects the stance of individual artists and cultural figures, not solely those of states. Official “friendships” with certain nations do not automatically mean all artists from those places will travel to Russia.
– Signal Festival, which curates the music program, has not issued a statement about holding the event. Is the team in a wait‑and‑see position?
– Preparation continues for the festival. It should be noted that Signal has faced difficulties in the past two years, yet there has never been a cancellation or postponement in its five years of existence.
– Have guests started returning their tickets in the background?
– Some people are returning tickets, but the primary reason is financial. The current situation has strained many households, with job losses and higher living costs. People need real money: 2, 3, 5, or even 10 thousand rubles is not extra in these times.
Regarding Fields, there was a question about whether the festival could run with only Russian musicians and how that would affect profitability.
– Honestly, even before the current events, there wasn’t a pressing need for foreign artists. From a purely musical viewpoint, a lineup composed entirely of Russian artists would be appealing. There are many talented musicians in Russia, and the speaker believes a lineup could feature 100–150 artists from the country. This stance is not about nationalism but about recognizing domestic talent that already exists.
Yet there is a strong curiosity about international music. As a person living in a global world, there is an interest in engaging with artists from outside Russia when possible. Festivals like Fields rely on foreign artists because the Russian scene is still developing in the Fields format—avant-garde, electronic, and authorial pop. Media exposure for domestic acts remains limited, so foreign acts act as a kind of catalyst for attention.
There is also a sense that with no immediate headline acts from abroad, foreign stars may no longer be strictly necessary for headline status.
– What about foreign artists’ refusal to perform in Russia for political reasons? Is this a temporary reaction or a longer-term gap?
– The situation brings to mind a past controversy involving a Lithuanian electronic musician who faced global backlash for statements deemed homophobic. The incident shows that not everyone fits the prevailing agenda, and some artists remain neutral or choose their own path regardless of the broader context. The hope is that people will focus on the artistic project rather than politics, though it is not always easy to do so. The reality is that many artists have the right to protest in their own way.
– Is there any positive side to such cultural isolation? Does it give young artists a bigger voice?
– A notable share of Russian artists have already moved to nearby countries. Import costs rise, and a new reality appears: Russian musicians may be brought to Russia with higher budgets. The ruble’s decline has also shaped salary expectations and purchasing power. Artists increasingly promote their work through global networks, and many still engage with audiences beyond Russia. The situation means costs can rise two or three times or more, depending on the artist’s pay.
– What about the supporters who help sustain the industry in these times?
– Supporters play a crucial role. Some host festivals, others perform in bars and clubs. The need for funding is unlikely to vanish completely, as many people remain committed to the music and are willing to sustain it in any way they can.
– How do you and colleagues cope with what is happening in the industry?
– The early weeks were brutal. It felt like the world would collapse after years of work. The writer has spent a decade in music events and recalls a similar currency crisis in 2014, when the ruble’s value dropped and the euro spiked. It seemed imports would dry up, yet resilience returned within a few years, even as ticket prices rose and festivals multiplied. Heroic supporters have always existed, challenging adverse conditions. Pre-sale culture has long been essential for organizers, as ticket trends signal a festival’s prospects. The pandemic in 2020 interrupted that momentum, but the industry gradually recovered. Curfews and restrictions pushed people away from live events, and buyers feared losing money on non-refundable tickets. Now, as restrictions loosen, there is cautious optimism. The hope remains that the sector can weather this period, even as the landscape stays precarious and risky. The current moment feels like walking a tightrope, with survival hinging on adaptability and willpower.
Today, the field looks toward gradual recovery while acknowledging ongoing challenges. The industry has learned to pivot, trusting in resilient fans, supportive partners, and a global music culture that keeps attracting audiences despite turbulence. The goal is simple: keep performances alive, let artists connect with listeners, and navigate the evolving world of live music together.