Propagandist pop in Russia has evolved since 2014, when artists like Yulia Chicherina, initially adopting humanitarian stances, began to embrace overtly pro-war rhetoric. In the post-2022 context, pro-war music has become both more ubiquitous and more radical. Contemporary productions celebrate military formations such as the Wagner Group, glorify violence, and combine Orthodox, classical, and militarist imagery. Such acts are increasingly ritualized by the state, as exemplified by SHAMAN’s performances in front of political elites, blurring the line between artistic autonomy and propagandist exploitation. 

While SHAMAN’s pop-rock hits appeal to a Westernized taste, they also convey overt anti-Western messaging, fostering national pride among audiences affected by sanctions and cultural isolation. Maidanov, in contrast, combines folk music, militarism, and disturbingly straightforward anti-Western threats, emphasizing traditional masculinity, nuclear might, and loyalty to the state. By analyzing these contrasting approaches, this paper shows how Russian pop negotiates between globalized musical aesthetics and radicalized patriotic content. 

Crucially, the paper also addresses gender and sexuality in propagandist pop. SHAMAN’s glam rock image, featuring eyeliner and non-heteronormative stylization, sparked a widely circulated post-ironic complaint under Russia’s anti-LGBT legislation. The incident highlights the official discourse of “traditional values,” framing queerness as both a cultural and national security threat. 

This interdisciplinary study draws upon musicology, popular music studies, audiovisual studies, and gender studies to contribute to the understanding of the political and cultural dynamics of contemporary Russia, offering insights relevant to the wider Central European context. It thus engages with the scholarly discussion of Russian mainstream pop and its engagement with Western pop music, both topics that, despite their significance, remain largely under-researched.