The events of 2022 not only brought profound sorrow to the world but also intensified the polarization of Russian society, exacerbating existing divisions. Culture, traditionally serving—if we agree with this premise—as a unifying force and a repository of contemporary individual experience, inevitably mirrored this schism: one segment became dependent (willingly or not) on various external constraints—be it censorship or social pressure—while another, though remaining creatively free, lost its centre of gravity and the broader public platform.
Maria Semushkina
Maria Semushkina, a cultural producer and the mastermind behind “Usadba Jazz,” one of Russia’s premier festivals in recent history, conceived the idea of uniting politically displaced musicians while in Georgia in 2022. Though Georgia had emerged as a hub for relocating artists but hardly as the nexus of Russian counter-culture. Under the banner #MusicSavesTheWorld, Semushkina’s initiative debuted with concerts in Yerevan and Kotor before expanding to Tbilisi and London, ultimately bringing together more than 100 musicians from Russia, Ukraine, Belarus, Cameroon, Georgia, Armenia, and Israel.
This December, the #MusicSavesTheWorld marathon returns to London, now as a double-header at The Steel Yard club. On December 8th, the stage will be taken by SBP4, one of Russia’s leading indie bands, which recently relocated two-thirds of its members to Berlin. In October, the band released “Animals Drink from Puddles,” an album showcasing the distinctive layered soundscape and rich cultural references—ranging from unexpected echoes of Alexander Vasiliev’s (“Splean”) vocal style to their characteristic synthesis of psychedelia and hip-hop. Following “Nothing Else Exists,” an emotionally charged 2022 album, the group appears to have overcome a period of internal turmoil, returning to their creative mix of melancholy and beauty with a somatic effect.
Alexei Aigui, whom Semushkina hails as “the greatest Russian composer,” will perform on December 1st with a cadre of British musicians. A long-time resident of France, Aigui is renowned primarily for his film scores for directors like Valery Todorovsky, Kirill Serebrennikov, Hirokazu Kore-eda, and Raoul Peck. A maverick in the classical music world, he reimagines academic tradition: during performances, Aigui leaps across the stage with his violin, improvising extensively, while his compositions blend the string section with synthesizers and electric guitars. Notably, Aigui and his ensemble 4’33 performed at the inaugural “Usadba Jazz” festival in 2004.
Another participant gracing the December concerts is Belarusian pop diva Palina, whose artistry melds performance with a genre-defying fusion ranging from indie to UK Garage. Her songs form an emotional narrative, shifting between the raw vulnerability of youth and existential contemplation.
The MusicSavesTheWorld lineup is further enriched by performances from Vintskevich Kershaw Trio, Vadik Korolev (OQJAV), Yaroslav Oliinyk, Yegor Zabelov, Vasily Zorkiy, and United by Sadness.
In the context of forced creative migration, the role of cultural producer—a mediator capable of bringing together collectives from different countries, and architecting the entire organizational infrastructure—becomes paramount. Yet Semushkina eschews messianic pathos; when describing her involvement, she rarely ventures beyond the declaration, ‘I’m simply doing a good deed.’ While the slogan “Music Will Save the World” may sound somewhat idealistic, deeper consideration reveals that despite the diversity of nationalities, individual characters and cultural conditioning we all react similarly, for the most part, to our surroundings, injustice, and falsehood. And as various forces attempt to divide us, through music it’s crystal clear that we will embrace unity again.
