Turning Away from Russian Music
After February 24, 2022, artist YAKTAK has voiced strong opposition to Russian music and called on people to support Ukrainian performers. His remarks reflect a personal transformation in how he perceives music following the start of the full-scale invasion. YAKTAK explained that before that date, his listening habits consisted of roughly:
- 70% English-language music
- 20% Ukrainian music
- 10% Russian music
But since then, he says 'everything I knew about it ended,' and he has completely abandoned Russian music because of the ongoing genocide of the Ukrainian people and the horrific events taking place in Ukraine.
'I don’t follow it at all. I don’t know what artists are there. On February 24, 2022, everything I knew about it ended for me,' YAKTAK emphasized.
He added that 'my tongue, finger, or ear won’t even move to play any of that' in light of what is happening over Ukrainian cities. The artist believes that 'right now we need to support our performers and Ukrainian music,' which he describes as 'so beautiful in our country.'
Controversy at Max Korzh Concert
A concert by Max Korzh on May 23 in Bucharest sparked controversy after Ukrainian flags were banned from the venue. Witnesses reported that security removed Ukrainian flags, while Russian flags were allegedly spotted at the event. Some audience members chanted 'Putin is a bastard,' prompting Korzh to ask the crowd from the stage not to shout any names other than his own. Notably, in 2022, Korzh released an anti-war song with lyrics stating that 'the one who defends their home is right.' Similar debates arose last year following a Korzh concert in Poland, highlighting how sensitive this topic remains in the context of the Ukrainian-Russian conflict.
YAKTAK’s statements highlight not only a personal artistic choice but also a broader trend among Ukrainian creatives who are distancing themselves from Russian culture amid the aggression. This reflects deep shifts in cultural policy and the perception of art in Ukraine, where supporting national artists has become a significant act of patriotism. Both cases—YAKTAK’s remarks and the situation at Korzh’s concert—illustrate how music and cultural events have become a platform for discussions about identity, support, and rejection of aggression.
As the discourse around Ukrainian music continues to evolve, the revelations from Semen Horov regarding Taisiia Povaliy and Ani Lorak shed light on the broader implications of artists' choices during these turbulent times. The ongoing conflict has prompted many to reevaluate their affiliations, making it essential to understand the impact of such decisions on the cultural landscape.