Russian stadium says it will not host Kanye concerts – but promoter says shows have not been cancelled

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Russian stadium says it will not host Kanye concerts – but promoter says shows have not been cancelled

Developing story first seen 3 hours ago

The Guardian · 3 hours ago

St Petersburg's Gazprom Arena has denied any role in two planned concerts by the rapper Ye (formerly Kanye West), stating it never signed a lease contract and that the shows "cannot take place at our venue" as things stand. This contradicts its own earlier social media announcement of the 10 and 11 October dates, which would have made Ye the biggest western act to perform in Russia since the invasion of Ukraine began. Promoter Say Agency, based in Moscow, says it was as surprised as the public by the venue's statement but insists the concerts have "not been cancelled", leaving the shows' status unresolved.

Say Agency said it had announced the sold-out concerts, with tickets priced up to £1,390, only after receiving an "official letter" of approval from the arena, though a formal rental contract had not been signed before its expiry this week. The plan had already drawn criticism both abroad, where it was seen as flouting sanctions and cultural boycotts following Ye's antisemitic remarks, and within Russia, where one politician called for the shows to be scrapped unless Ye voiced support for the "special military operation". Countries including the UK, Italy, Poland, Switzerland and France have previously blocked Ye's concerts over safety concerns, despite his January apology; he has nonetheless played to large crowds this year in countries including the US, Turkey and Kazakhstan in support of his album Bully.

  • Gazprom Arena denies signing a contract, says it cannot host Ye's shows
  • Promoter Say Agency says the concerts have not been cancelled
  • Follows bans elsewhere over Ye's past antisemitic remarks

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Russian promoters had announced two St Petersburg concerts by the rapper Ye, formerly known as Kanye West, scheduled for 10 and 11 October, which would have made him the biggest Western musician to perform in Russia since the country invaded Ukraine in 2022. The plan drew criticism internationally for seeming to sidestep the cultural boycotts and sanctions many Western artists and institutions have observed since the war began. It also proved divisive inside Russia, with some politicians demanding conditions before the shows could go ahead.

Ye has faced repeated controversy over antisemitic comments he has made in recent years, which has led several countries, including the UK, Italy, Poland, Switzerland and France, to bar him from performing there. Despite this, he has continued an extensive world tour through 2026 to promote his latest album, taking in dates across the US, Turkey, the Netherlands and Kazakhstan.

The Gazprom Arena in St Petersburg is a large stadium venue, and the Moscow-based Say Agency has been organising the Russian shows, which had already sold out with tickets priced up to £1,390. The two sides now disagree over whether a formal booking contract was ever completed, which is the source of the confusion over whether the concerts are actually going ahead.

Both sides, in good faith

The strongest fair case each way — we don't pick a winner.

The case for

Those supportive of the arena's decision argue that hosting Ye would have lent unwelcome legitimacy to a performer with a well-documented history of antisemitic remarks, and that refusing the shows sends a reasonable signal that such conduct carries consequences, consistent with the stance already taken by the UK, Italy, Poland, Switzerland and France. They also note that a major Western star performing in Russia risked being seen as undermining the cultural and economic isolation intended to pressure Moscow over the invasion of Ukraine, so distancing the venue from the concerts, contract or no contract, is a defensible act of caution rather than censorship.

The case against

Those who back the concerts going ahead, or at least object to how they were handled, argue that a promoter who received an official letter of approval acted in good faith and deserves contractual clarity rather than a vague, after-the-fact disavowal that leaves ticket-holders and organisers in limbo. They would also contend that artists should be free to perform for willing audiences regardless of past controversy, that fans should not be denied a sold-out show over the personal views of the performer, and that using a concert booking as a proxy battleground for geopolitics or demands that an artist express support for a war sets an uncomfortable precedent for mixing culture with state politics.

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