Ukrainian singer Nastya Prikhodko spoke out about the Laima RendezVous festival in Jurmala, a project organized by Laima Vaikule to show support for Ukraine. The remarks appeared in an interview with Alina Dorotyuk and were later shared on YouTube.
Prikhodko said he would not have agreed to take part in such a festival, pointing out that performers who had previously performed before Russian audiences were included in the lineup. He also observed that contemporary Ukrainian patriotic songs did not find a place in the program.
He argued that many attendees were Russian, describing the audience as overwhelmingly so, which led him to question the festival’s alignment with Ukrainian interests. This statement reflected his stance on the presence of Russian supporters at events connected to Ukraine.
Prikhodko expressed clear reservations about artists who oppose Russia’s actions in Ukraine, indicating a lack of solidarity with those who critique Russian policy while appearing on stages related to Ukrainian causes.
The singer contrasted his view of the festival organizers with the broader Ukrainian cultural scene, naming Laima Vaikule with less reverence and criticizing other figures who had faced political scrutiny. He emphasized that discussions alone could not drive change in Russia and warned that dialogue with Russians should not be a means to compensation for past grievances.
In July, Laima Vaikule hosted the Laima RendezVous festival in Jurmala, inviting a range of Ukrainian artists including Olya Polyakova, ALEKSEEV, Max Barsky, and Verka Serduchka. The guest list also featured Andrey Makarevich, the leader of the Russian rock band Time Machine, as well as Alla Pugacheva and Maxim Galkin, who are known in Russia for various political associations.
In 2022 Prikhodko urged Loboda to release the song Calm Down in Ukrainian, and the discussion around nationalist sentiment and cultural representation continued to color perceptions of Ukrainian music abroad.
A former Ukrainian director commented on the installation of a trident in the homeland, tying symbolic acts to ongoing discussions about national identity and the role of culture in political messaging. [citation]
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