Industry figures have reacted angrily to an increasing number of live music events returning to Russia, as a raft of high-profile Western artists have increasingly held performances in the country in recent months.
2026 has seen mainstream artists from Ukraine-allied countries play a growing number of shows in Russia, many of which were by DJs and across electronic genres.
Public event and ticket listings show performances including Markus Schulz and Terry Golden playing alongside Russian DJ Alexander Popov on April 11 at TAU Concert Hall in Moscow, four shows in Moscow, St Petersburg, Nizhniy Novgorod, and Ekaterinburg shows by Ill Niño, as well as a Moscow performance by French Montana, promoted by Next Level Agency and Say Agency.
Perhaps the biggest names outside of electronic music to play in Russia are Flo Rida, whom Russian media reports as having “declared his love for Moscow at his concert at the CSKA arena” in early May, and Tyga, who is due to appear at the CSKA Arena on 29 August.
Further rappers with recent or upcoming Russian shows include Gucci Mane (13 December 2025, MTS Live hall, Moscow), and Onyx, who completed a Russian tour leg in spring the spring. A further listing for a 17 September show is also seen on Russian ticketing websites.
Other artists with either past or future publicly listed 2026 shows include Tigran Hamasyan, Onyx, and Jason Derulo (Moscow, 14 June), to name only a few.
Some appearance are scheduled for upcoming festivals including the Korean Hip-Hop Festival on 11 July, whose lineup includes Korean artists SIK-K, HAON, NOWIMYOUNG, JMIN, BE’O, and LOOPY, while Outline Festival is set to host Atom
, Derrick May, A Guy Called Gerald, DJ Pierre, Daniel Bell, Jus-Ed, and more, between 21 and 27 July in the Taldom area of Moscow.
Nick Hobbs, owner of promoter Charmenko, said it is “beyond my comprehension that any artist would play in Russia following 24 February 2022”, adding he “find[s] it shocking and extremely sad that some do.”
“I call out to all involved not to facilitate the artwashing of a regime with a great deal of blood and terror on its hands,” Hobbs said.
Alona Dmukhovska, head of Music Export Ukraine, told IQ: “For Ukrainian music professionals, this is not simply a question of reputation or politics. Russia is waging a full-scale war, and its economy and industry have been mobilised to sustain it. Statistically speaking, a significant share of the audience attending concerts in Russia today is directly involved in the war effort — whether serving in the military, manufacturing missiles and drones, or supporting the military-industrial complex in other ways.”
She added it is “difficult to separate entertainment from that reality”, and that artists playing in Russia “normalises the situation and provides cultural comfort at a time when Russia continues to wage an unprovoked war against Ukraine.”
Dmukhovska’s work with Music Export Ukraine aims to empower Ukrainian artists to thrive on the international stage, with the organisation saying it supports emerging musicians in building connections, promoting their work, and developing their careers and talents globally.
She told IQ: “Imagine performing for people who may have spent their working day contributing to attacks on Ukrainian cities, and then come to a concert to relax. That is why, from a Ukrainian perspective, returning to perform in Russia while the war continues is not a neutral business decision.”
Meanwhile, Siim Ammon, CEO of Talinn’s Unibet Arena said playing in Russia “cannot be treated as a neutral cultural decision”, adding that many in the Baltic sector consider working on Russian events a black mark against industry professionals.
“This is not simply a matter of entertainment or business. It is a moral choice, and one that has consequences.”
“From our perspective, this is very straightforward. In Estonia and across the Baltics, this is not even a matter of opinion, it is simply not acceptable, and not something we would consider as a basis for cooperation.
“An artist choosing to play in Russia today is effectively choosing to normalise, and therefore indirectly support, a country that is still waging war against Ukraine,” Ammon told IQ.
He added: “For promoters and venues in our region, booking such artists becomes a major liability, not just immediately but for a very long time. Audiences, partners, and sponsors here are extremely aware of these issues, and there would be serious questions around any artist who has chosen to perform in Russia while the war continues.”
He concluded: “This is not simply a matter of entertainment or business. It is a moral choice, and one that has consequences.”
This comes as several organisations in the Ukrainian music industry are working to continue to fund education and opportunities for artists. Music Export Ukraine published a practical guide for international artists performing in Ukraine in late 2025, while Music Saves Ukraine organised the Ambassadors Tour in late 2025 to bring international industry figures to see the challenges faced by the national sector.
Charmenko’s Hobbs told IQ of his own experience with the Russian music industry, saying: “I’ve had a long professional and personal relationship with Russia. I took Misty in Roots and Everything But The Girl to Soviet Moscow in 1985, and since then I’ve brokered hundreds of tours in Russia, Ukraine, and Belarus.”
“By 2022 these three countries accounted for perhaps a quarter of Charmenko’s business. I also speak Russian, am deep into Russian and Ukrainian culture, have travelled a great deal and taught extensively in all three countries, and both my former partner and present partner are Russians. I happened to be in Russia on 24 February 2022 when the full-scale invasion of Ukraine started,” he explained.
“returning to perform in Russia while the war continues is not a neutral business decision”
In light of this, he told IQ of the position Charmenko took following the invasion, and called on others in the sector to follow suit.
“Since then we’ve cut our ties with Russia and Belarus as ‘markets’. We’re happy to work with Russians who self-exiled and have ‘come out’ against the war and the regime.”
Music Export Ukraine’s Dmukhovska concluded by saying the decision to play in Russia sends a message to the international music community, “beyond the immediate moral implications”.
“Every concert, every ticket sold and every appearance contributes to the perception that business with Russia can gradually return to normal, despite the ongoing aggression.
“Artists and their teams should understand that this is not a neutral position. In practice, they are helping to normalise a state that continues to violate international law and commit war crimes. History tends to remember not only those who spoke out, but also those who chose commercial opportunities over ethical responsibility,” Dmukhovska said.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
The post Exclusive: Increasing return of Russian touring sparks industry anger appeared first on IQ Magazine.
