A recent report describes a summons issued to the singer known as Xolidayboy, whose real name is Ivan Minaev, by the military enlistment office. The information came from a Telegram channel that published details about the case, circulating as a bulletin to followers of the artist and regional audiences. The document traces the moment the summons was delivered and notes that it occurred while Minaev was away from his home base, a situation that has drawn attention from fans and local observers alike. [citation: Telegram channel report]
The same source adds that military officials reportedly encountered the artist at the Mineralnye Vody airport during a scheduled tour across the Stavropol Territory. The account paints a picture of a routine enforcement action taking place in a public setting, where Minaev was traveling through a transit point rather than presenting himself at a military facility. The narrative emphasizes the specificity of the location and the timing, underscoring the sensitivity of such procedures for public figures whose movements are closely watched by the media and the public. [citation: Telegram channel report]
Further developments emerged on October 28 when a Moscow concert by Minaev was canceled nine hours before the show was set to begin. The official reason given by concert organizers cited circumstances beyond the club’s control, and the communication appeared to acknowledge the abrupt nature of the cancellation. Prior to this event, Minaev was not listed as a participant at the New Radio Movement festival, and the festival’s organizers later stated that the artist was not allowed to perform due to statements attributed to him. The situation indicates a complex interplay between event management decisions and public commentary that can influence appearances on stage. [citation: festival incident report]
On October 26, the producer representing Minaev faced public remarks from Ekaterina Mizulina, the president of the Safer Internet League, who is known for advocating online safety and accountability. The producer responded by asserting that both they and Minaev have acted within the bounds of the law and that their reputation has been damaged by circulating rumors. The producer insisted that any unverified information should be scrutinized and that accountability should apply to those who publish it. The exchange highlights the tensions that can arise when public figures are subject to online discourse, especially when it intersects with legal concerns and perceptions of credibility. [citation: Mizulina statement]
Prior to these events, Mizulina had publicly pledged to initiate an inquiry into alleged anti-Russian statements attributed to Minaev and his producer. The plan involved providing excerpts from interviews to law enforcement authorities as part of an investigation framework. The announcement signaled a commitment to formal processes and raised questions about the thresholds for evaluating comments attributed to public figures. As observers noted, such actions can have broad implications for media coverage and the rights of individuals to express themselves within legal and cultural boundaries. [citation: Mizulina inquiry pledge]
In related coverage, past explanations given by representatives associated with SHAMAN concerning a red button incident at a concert were revisited in discussions about incident reporting, audience safety measures, and the ways performers address unexpected technical or security concerns during live performances. The retelling of that prior episode provides a broader context for understanding how organizers and artists respond to alarms or emergency signals while maintaining performance schedules. [citation: SHAMAN commentary]