How much does a ticket for oxy cost at the Olympic Stadium? How Oksimiron attracted a full house at the Olimpiyskiy with the program “Imperivm”

A day apart, two great Russian rappers, Timati and Oksimiron, played sold-out concerts at the Olimpiysky, one of the main concert venues in the country, which traditionally has important symbolic significance for musicians. Having reasoned that it would be difficult to find more dissimilar people in Russian hip-hop, Meduza editor Alexander Gorbachev decided to go to one and the other and compare what happened.

At the end of the performance of the song “Eggplant” - one of his main hits, based on a sample from the composition of the Vladimir group “Record Orchestra” - Timati brought a group of teenagers on stage in black ninja suits. From somewhere he took out a T-shirt with a double-headed eagle and the inscription “Russia”, put it on himself and, smiling broadly, began to dance the Lezginka together with the young backup dancer. (Subsequently It revealed , that in this way the uniform in which the Russian national football team will play at the home World Cup was presented for the first time.) This friendly scene, in which patriotism came together with cosmopolitanism, and pop rap with the cultural traditions of the peoples of the Caucasus, became perhaps the most political the charged moment of two big hip-hop concerts at the Olimpiyskiy, not counting the joint photographs with Putin that flashed for a couple of seconds on the screen during a slide show about Timati’s complex creative path. A day later, Oksimiron, in the same place, spoke no less friendly about the need for dialogue between people of different views, putting Nazis and feminists on the same level - and that was all. In general, for about six hours, which collectively lasted two concerts, everyone on stage, as sung in one good song, remembered their own.

Two large-scale rap concerts held at the largest Moscow venue over three days are too good a synecdoche of everything that is happening with Russian music not to take advantage of it. The 50 thousand people who collectively came to the Olimpiyskiy are clear evidence that hip-hop has successfully taken over all popular music in the country; a colossal audience by any measure. Timati gave his show on National Unity Day, an artificial holiday invented during the time of Vladimir Putin - Oksimiron played on the eve of the centenary of the revolution. Timati successfully introduces rap into the official stage and invites Kirkorov and Leps to his concert - Oksimiron shuns contacts with the “system” and proclaims the triumph of self-propelled guns. Timati, who started thanks to his father’s capital and a reality show on Channel One, personifies a typical music career for the Russian industry, in which some are more equal - Oksimiron embodies European meritocracy and in every possible way emphasizes that he built his success with his own hands, without any outside help. Timati is ostentatiously friendly with his state - Oksimiron ignores him at best. In short, although this cannot be verified in any way, there is every reason to believe that the Meduza correspondent was one of the few people who attended both concerts: their audiences are disjoint sets.

The benefit performances at the Olimpiyskiy were preceded by the necessary skirmish in such cases. Oksimiron participated in spreading rumors that viewers of Timati’s concert are promised money; Timati answered him with an announcement of a sold-out and an invitation to his concert. Miron Fedorov refused - and did not see that his “Olympic” leader Black Star had assembled as honestly as he himself. And according to advertisements, people were recruited into the crowd, who appeared on stage at the very beginning of the concert as a symbol of that very "Generations". Timati won in terms of numbers: in his case, the concert hall was in its maximum capacity configuration - for 28 thousand people; the opponent has 22 thousand. Oksimiron - in terms of timing: no one here has passed the path from three thousand meters to stadiums so quickly for a long time.

However, numerical measurements are not as interesting as rhymes - which, when directly compared between two stage concerts, turn out to be more clearly visible than ever.

Here, for example, is the flagship line of Miron Fedorov in recent years: “***** [why] do I need your labels, we are building an empire from scratch and for centuries.” But about the same Timati: “Money in the bank, family in abundance, building an empire, everything is fine” (these are words from the song LʼOne, but it sounded in “Olympic” as a manifesto of all the numerous lads of the Black Star label). Here is Oksimiron: “I saw death, she said: “Sign on your tits.” But Timati: “I saw death and took off its hood. And in the same month I earned my first million.” Here is brand realism according to Timati: fulfilled a live advertising jingle for "Tantum Verde Forte", which is introduced with the ironic statement "this is my main song" and causes frantic jubilation from the audience. Here - according to Oksimiron: in all seriousness read in solemn silence, a poem about the construction of the notorious empire; with difficulty, but you can still remember that it was actually written for a shoe advertisement.

Even more interesting is how a head-on collision reveals structural differences in the approaches of the antipodes of Russian hip-hop to themselves, music and shows. Timati understands that same show as a typical pop concert, “Song of the Year” for his own - with a live band and a festive groove, with a large number of invited guests, with 3D projections, complex decorations, constructions that come on stage, backup dancers and even a special entertainer between songs. (The concert began, for example, with a monologue from the artist’s mother about how he swam well as a child, and then became interested in rap; towards the end, a rather long sketch with Timati from the show “Evening Urgant” was shown in full on the screens.) Oksimiron’s concert is more of a a big disco in the style of EDM festivals: no live instruments; the main effects are multi-colored spotlights and a pair of large screens scurrying around the hall epileptically; the most intricate thing they showed was cartoon sketches on the theme of the world of the Gorgorod album.

Timati's performance is endlessly regimented - and when the group makes a memorized "surprise" for the main character in the form of a medley of old songs, it seems like an awkward rehearsed reprise; Oksimiron's performance is deliberately spontaneous - even between songs, he mostly says that he has not prepared any monologues. Timati behaves more like a prudent producer, manager, presenting his own business achievements and knowing how to go into the shadows in time (the appearance on stage of Yegor Creed and Mot, the two main current assets of the Black Star label, caused a reaction almost more violent than the main character himself ). Oksimiron - like a hungry and angry leader of the pack, pulling others by the hair - with varying, however, success: when beatmaker Porchi came out on the stage of the Olimpiysky to read his songs, the hall noticeably quieted down.

In general, there is an interesting paradox here. Strategically, Timati is a normal Russian pop star with the egocentrism inherent in this status; Oksimiron, on the contrary, is a person who defines himself through his team. At the concert, however, everything turns out to be exactly the opposite. The most common word heard in the Olimpiyskiy on November 4 was the word “family” (okay, also “Instagram”); in accordance with the proud title, the “Generation” concert was truly about “we”: about a party, a group, a community - even if this community was manifested by a branded T-shirt of the concert, where under the word “Generation” Putin’s face is drawn and written "My friend". For Oksimiron, collectivism was purely nominal - these people were united by the cult of exactly one personality; It is symptomatic that, with the exception of animated inserts, the video sequence here for the most part consisted of various kinds of portraits of the main character.

The dominant intention of Timati’s concert was narcissism, Oksimiron’s was self-affirmation; both are somewhat tiresome in large doses. Oksimiron’s takeover of the “Olympic” was also accompanied by a small exercise in memory editing - two songs were played here, in which the Belarusian rapper LSP took a decisive part, but his name was never heard from the stage. Like none of the pseudonyms of Gnoyny, an artist whose battle with whom probably led to more than one hundred tickets being purchased at the Olimpiyskiy. The only person here who was allowed to doubt Oksimiron was Oksimiron himself.

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Morning. The husband is talking to his mother on WhatsApp.

Fedorov Miron Yanovich.

That was our first dog's name, Miron. What is he singing?

Russian folk songs.

And right in the Olympic?

This was the introduction. Brief impressions of the concert: bravo, Miron, I think I won’t be mistaken if I say that this is his best concert. I don’t know how you can create a cozy homely atmosphere in a giant barn with twenty thousand people, but Myron succeeded. There were also infernal dances with wild round dances in the fan zone.

For those interested - a detailed report with a preamble. I attended two of Miron’s concerts. And I remember the last concert for the incredible number of snobs in the queue in front of the club, on social networks after, in the hall - everywhere. The level of some kind of mouse showdown was completely idiotic. Eighteen-year-old boys who boasted that they had been listening to Miron since his first mixtape, that’s all. Bad sound and complaints on Twitter about the responsiveness of the public (“but in Kemerovo they shouted better than you,” that’s all). Also, the previous two tours included a track-by-track performance of “Gorgorod”, supplemented by old hits. You understand that “Gorgorod” is a more intimate album, and as the locomotive of a concert it sounds somewhat strange. And - what is important - no interesting new material arrived in time for the concert (you are free to disagree with me, of course). To summarize, there were reasons for slight skepticism.

Fortunately, none of the previous unpleasant moments at the concert at the Olympic Stadium were repeated. And somehow it was easy to forget about the lack of new material.

Some particularly rabid fans began to gather around three o'clock in the afternoon (the concert starts at seven). My husband and I calmly arrived at half past seven, went into the Olimpiyskiy without any queues, and found our seats. On the stage, in a cloud of blue light, frames of the animated screensaver lazily changed. Glinka played. We predictably joked about it. In fact, the classics sounded very refreshing and in keeping with the theme. Great choice. From thousands of people surfing the internet, it was very slow. The concert started at eight.

It was not even a concert, but a full-fledged show, with an excellent video for each song, with elaborate lighting, and good sound. Myron changed his outfit several times, like a true star. Black shirt-black T-shirt-black shirt with stripes-again a T-shirt. First he blasted “Just a writer,” then the performance of fresh tracks began. All the latest features are from Bi-2, Fata Morgana, Machine of Progress, then somewhere there was “Bipolarochka”. Minor and thoughtful tracks were replaced by more driving ones. I read Corruption from time to time. Between the different “sections” of the concert there were instrumental beats with atmospheric animation for each.

Myron looked good-natured and happy, confident. I communicated a lot with the audience, and did not forget about the audience from the upper tiers or the stalls. I don’t know how he managed it, but the atmosphere was very cozy and homely. He admitted that he did not prepare leads for the tracks in advance, improvised, and was nostalgic. I read a number of early tracks - “Yeti and Children”, for example. He talked about the first and favorite beats that Porchi made with him - they were “Bigger than Ben”, “Tumbler” and “Ivory Tower”. By the way, tracks from “Gorgorod” were scattered throughout the track list; in the end, Myron read almost the entire album (except for “Who Have You Become”). “My Mentality” was performed a cappella (Miron’s remark: “Fuck it, my concert, I do what I want”). It was fun and soulful. It is clear that the hits from the first album were read (“East Mordor”, “Bug in the Anthill”, “Tentacles”, “The Eternal Jew”, even “In the Shit”). Do you know if you can use the word “shit” on Gossip Cop? ... Naturally, there were “Gremlin’s Song”, “Signs of Life”, “Chitin Cover”, even - yes! - “Volapyuk”.

People fought with all their hearts. In the finale, “Where We Are Not” sounded very atmospheric. Behind it is “The City Under the Sole.” Then Myron said goodbye and left. Particularly zealous fans ran to the wardrobe as soon as “The City Under the Sole” died down. We decided that at his biggest concert, Miron simply had to give an encore. Five minutes later he left. He brought the guys from KOTD, who came from LA to watch the concert, from behind the scenes. They were warmly welcomed. Then the entire Booking Machine poured onto the stage. Myron once again addressed all listeners. Then “Lie Detector” was loudly performed. Probably everyone was jumping at the end. I don’t know, because I jumped on my own and didn’t look around. Again, and with great anguish, “Where We Are Not” was performed (it was amazing, the best impression of the concert). Then - again, again - “Girl-f**k”. The concert ended on this cheerful note.

And... You know, one of the most valuable feelings from participating in such events is the feeling of catharsis. It happens very rarely, and the older a person is, the more difficult it is to penetrate it, to touch a nerve. There was definitely a place to experience it. And then, of course, I had to return home, because I had to go to work tomorrow. Although there is work every day, concerts are not every day. And the night streets beckoned, and I wanted to go and experience this pleasant aftertaste for a long time.

Myron always emphasizes that he makes mistakes, that he is imperfect, that he is alive. There were different moments in his story, including not the most pleasant ones; in his work there are different lines, including redundant and flat ones. I am not inclined to idealize anyone. But there is definitely something in it, something that can touch a nerve. I wish everyone who really wants to attend his concert to fulfill this desire, fortunately, he has a fairly extensive touring geography.

P.S. Post at the request of Guru111. I hope you liked it =) Honestly, if it weren’t for your comment, I would not have thought of writing this report.

Updated 08/11/17 00:32:

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Over the past year, rapper Oksimiron has transformed from just a popular subcultural artist into one of the main characters in Russian life. In hindsight, all this looks like a clearly choreographed production, but in reality the sequence is such that it was impossible to predict the turns of this plot.

Without releasing albums or even individual tracks for a long time, he disappeared from the public sphere (including social networks), then returned, lost a rap battle to Gnoiny, released the sad song “Bipolarochka” and the sudden collaboration “It’s time to go home” with “Bi-2”. After which he won a battle in Los Angeles, where his opponent was the battle rap star Disaster.

Today all this looks like an ideal PR campaign for the biggest concert in my career at the Olimpiysky,

for which, a few days before the show, all tickets were sold - 22 thousand.

This is no longer a record in Russian rap, but nevertheless, all previous events took place rather in virtual space or, in any case, did not accommodate so many spectators in person, in real time. In addition, even at the start of his career, after returning to Russia,

Oksimiron’s concerts were criticized because the artist was not always able to reproduce his machine-gun verses live.

In this case, the stakes were higher than ever. "Olympic" is one of the largest and most complex venues in the city. Here every now and then there are problems with the sound, then with the passage of the public (as at the recent DDT concert). However, it was with getting inside the sports complex that everything was in order.

Although, decent organization and sound would, of course, not be enough here. Oksimiron's stadium tour was supposed to be not just a series of reporting concerts, but a full-fledged performance, the advertising basis of which was the silhouette of the Roman Colosseum and the word Imperivm.

In keeping with the grandeur of the design, a bluish twilight reigned in the half-bowl of the concert hall before the start of the show, and the stage was covered with a white canvas on which macabre images were projected, equipped with an alarming string soundtrack. At about eight in the evening, introductory shots of the Colosseum among the smoking ruins of a futuristic city and a (emphatically) big-nosed figure frozen against this background with a bundle of knapsack slung over his shoulder floated across the screen. Then Miron Fedorov himself appeared behind the curtain,

who began the concert with the song “Just a Writer” from the album “Gorgorod”, which can already be perceived as a life credo.

To call the crowd of thousands “loyal” would be a gross understatement. The people screamed and rose up, fireworks lit up on the right side of the fan zone, and the stands lit up with the lights of mobile phones. The artist standing on stage, however, had every right to such an attitude. Over the last few tours, he has honed his performing skills, and in this case it was reinforced by the scenography.

Behind the rising and falling screen were the columns of the gladiatorial arena,

which every now and then turned, turning into something like a grotto, where the fighters wait to enter the sand. Behind there were several screens, each of the more than two dozen songs of the two-hour concert had its own video sequence.

Only the holders of tickets to the side stands were left in some disadvantage - the sound reached there late, they saw the stage as if in cross-section, and even the video screens looked past them..

But this is the eternal problem of the Olimpiysky, which is why these seats are sometimes not sold at all.

And even there, perhaps, it was difficult not to succumb to the general euphoria. The internal dramaturgy of the show, built around tracks over the past almost ten years (starting with the 2008 “Yeti”) held up, as is often the case in contrasts. On the one hand, Oksimiron’s popularity is based on a rare combination of grime, an English subspecies of hip-hop, dance rhythm and healthy anger, which Russian music was sorely lacking in the 2000s. With another -

youthful maximalism, wild pathos and rabid egocentrism in the tracks were interspersed with emotional entertainment with declarations of love to the public and calls for world peace; not a man, but a cloud in his pants.

Comparisons between Miron and Mayakovsky have long become common place, but it will still not be possible to get far from them. The great proletarian poet made Russian poetry, which tended to be laconic, caustic, talkative and emotionally loose. No one has yet called Mayakovsky the grandfather of Russian rap, but it seems that this title may well arise in the very near future, given that one of the most popular artists of the genre has repeatedly declared his love for the work of Vladimir Vladimirovich. And rap, to a much greater extent than traditional poetry, presupposes a dialogue format in which the artist yells in the viewer’s ear. So such a title would look completely harmonious.

Actually, the main question regarding Miron - right up to his current largest meeting with listeners - was precisely this:

will his regularly mentioned Oxford training be able to germinate on the local soil or will it remain a curious incident.

Judging by the concert at the Olimpiysky, the current stage is unlikely to be the highest point. It is clear that many different people always flock to such events, but nevertheless, few are able to unite schoolchildren with their parents, extreme bearded men, young goth girls and, for example, a woman walking around the fan zone in trousers with stripes.

Well, when for an encore to perform the last three songs, Fedorov brought his entire team onto the stage, who began to jump wildly and wave their arms, it became clear that there is something ineradicably (fortunately) Russian in turning a serious show into a cheerful revelry. The founders of the largest Canadian battle rap platform King of the Dot, invited by Miron, were somewhat watching what was happening at this time (a battle with Disaster took place there).

Men with the names Organik and Avi Rex, it seems, did not quite understand why at a rap concert there was a Roman arena on stage, a man was jumping around, waving a scarf, and something completely unimaginable was happening in the hall: a couple of tens of thousands of people they recite the words in Russian very quickly in chorus, not forgetting to jump. And there will probably be people who will present serious and fair claims to this show, but hardly anyone will argue that, in general, one could not have wished for a better pre-party for the centenary of the October Revolution.

Yesterday, information appeared in the media: the crowd at the concert (34) is fake - the audience is paid nine hundred rubles each to come to the Olimpiysky on November 4.

It turns out that this ad appeared in the VKontakte group “Model Casting”. Oxxxymiron (32), who performs at the same Olimpiyskiy only two days after Timati, decided to tease the rapper - he reposted the news about the crowd and signed: “Everything is wonderful here!”, and then answered one of the subscribers who doubted the veracity of the news: "Maybe. But if they had not previously had such a widespread practice of distributing free tickets to gather venues, no one would have believed it.”

Maybe. But if they had not previously had such a widespread practice of distributing free tickets to gather venues, no one would have believed it)

And then Timati stood up: “I read all kinds of S*O addressed to me on the Internet all day long. From people purchased at the Olympic Sports Complex (900 rubles per person) to some incredible stories, any news with my name immediately goes to the TOP. It's all really wonderful. But... The soldier-out at the Olympic Stadium is a fact. Which you, representatives of fake news and envious people in general, will have to put up with. As is the case with the paid queue at Black Star Burger - which has not ended for more than a year. One person I didn’t expect to see in the ranks of the “hyenas” this time was Oksimiron. Do you have all the contacts of key people on site? Call the insurance company and see the plan for how long your site is open and how long mine is. How much has been sold for you and for me, maybe it’s annoying, I’m actually not in a negative way, I invite you to watch the concert in person on November 4th!!! You're a brave guy, you're not particularly afraid of anyone. So if you have the courage to post all kinds of leftist crap about me, maybe you have the courage to come and see for yourself and draw a conclusion? As a guest, I guarantee you complete safety and the best seats; if necessary, we will find earplugs. Write to me in direct message” (Editor’s note: The author’s spelling and punctuation have been preserved).

Oxy, by the way, recorded a video in which he stated that tickets for his concert were also sold out, and they decided to add two thousand more tickets so that everyone could attend.

(50) did not stand aside: “How intelligently you answered him, you have matured, it’s immediately obvious! Then he would have answered me like that, if only we would have become even stronger friends, although probably everything and everyone has their time, and Oksimiron, apparently, was not destined to hear the epoch-making “Come on, goodbye” with all that follows and follows” (Editor’s note: Spelling and punctuation author saved).

Kirkorov spoke about his quarrel with Timati in 2012 at the Muz-TV channel awards. Let us remember that Timati did not receive a single award then, and he said that this was unfair. And Philip then deftly put the rapper in his place: “Do you have any questions? The most honest? I didn’t ask any questions last year! There is prof. ethics".