July 31, 2025 • 28 mins
The focal point of our discussion today revolves around the remarkable journey of Ukrainian artist Christina Solovi, a figure who has adeptly navigated the tumultuous landscape of cultural identity and artistic integrity amidst the backdrop of significant societal change. We delve into her evolution from a prodigious musical talent steeped in rich tradition to a prominent voice challenging established norms and expectations within the realm of contemporary Ukrainian music. Her unwavering commitment to her heritage and her fearless stance on national identity serve as a lens through which we explore broader themes of artistic expression, public perception, and the profound impact of culture during periods of upheaval. Throughout our dialogue, we will unpack the complexities of her artistic contributions, the controversies she has faced, and the personal convictions that shape her work. Join us as we embark on this insightful exploration of how art can resonate powerfully in times of crisis and transformation.
Who is
Born in the Carpathian shadows and raised on Lemko folk songs, Khrystyna Soloviy is more than just a voice—she’s a revival.
From her breakout on Ukraine’s The Voice to becoming one of the country’s most compelling indie-pop artists, Khrystyna has built a career around honoring the past while pushing sound forward. Her debut album, Zhyva Voda, breathed new life into ancient melodies, and since then, her songwriting has only grown more personal, poetic, and bold.
In this episode, we journey through the story of a woman reclaiming heritage through harmony—how she turned traditional folk into modern anthems, what drives her to sing in a time of war, and why her voice resonates far beyond borders.
Companies mentioned in this episode:
- Okean Elzy
- Tatiana Novikova
- Dmitry Peskov
- Brigitte Bardot
- Ivan Franco National University of Lviv
- Yuna Award
- GoGolfest
- Dziga art community
- Lis Kirbis theater
- Crudy 1918
- Mavka, the Forest Song
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Welcome, deep divers.
Ever wonder what it takes foran artist to, well, not just get
by, but really thrive wheneverything around them is changing?
Culture, politics, national identity?
It's a huge question, isn't it?
Yeah.
Today we're diving deep intothe life of a Ukrainian artist who's
done exactly that.
She's this creative force whokeeps pushing boundaries but stays
(00:24):
incredibly fiercely true toher own vision.
She really is a fascinating figure.
Her journey kind of embodiesthis profound connection to her roots,
but also this fearlesswillingness to challenge norms.
And always this unwaveringcommitment to her art and to her
country.
Absolutely.
Her story gives us thisamazing lens, doesn't it, to explore
all those complex things likeidentity, cultural heritage, public
(00:48):
perception, especially in theworld today.
Exactly.
It's all tangled together.
So what's our mission for thisdeep dive?
We're going to unpack themultifaceted story of Christina Salavi.
We'll trace her evolution, youknow, from this musical prodigy steeped
in tradition, right up tobeing this prominent, pretty controversial
cultural voice.
We'll look at her artisticpath, definitely delve into some
of the public conversations,the controversies she sparked, and
(01:10):
try to.
Uncover those deeply personalconvictions that seem to shape everything
she does.
So get ready for somesurprising facts, maybe some rich
cultural context, and.
And hopefully some realinsights into how powerful art can
be, especially during huge changes.
Yeah, this dive reallypromises a compelling journey.
We'll see how contemporaryartists evolve, how personal beliefs
(01:32):
and national identity getwoven together, especially when the
world demands so much frompublic figures.
We can connect her experiencesto those bigger themes like artistic
integrity, freedom ofexpression, and honestly, the potent
role culture plays in times ofmassive upheaval.
It's often underestimated.
Okay, so let's start right there.
Let's kick off by painting a portrait.
(01:53):
Who is Christina Solovi?
An artist rooted in tradition,but, like you said, always pushing.
Well, she was born inDrohobych, that's in western Ukraine,
back in 1993.
And her childhood was just,well, completely saturated with music.
It wasn't just background noise.
Her mother taught choir.
So imagine from a really youngage, she's absorbing harmony, the
(02:14):
power of voices together, thestories in the songs.
Wow.
Okay.
And it goes deeper.
Her grandmother actually led abandurist ensemble, a bandura.
Remind our listeners, right?
It's that traditionalUkrainian instrument, plucked strings,
sort of like a lute meets a zigger.
Really resonant sound.
So Kristina's earliestmemories are filled with these Galician
(02:35):
folk songs, Ukrainian fairytales set to music.
So it's like her artistic DNAwas being formed right there.
Absolutely.
These intricate melodies, the storytelling.
It wasn't just hearing music,it was learning the essence of Ukrainian
cultural narrative.
That's an incredible foundation.
And it wasn't just informal.
Right.
She had formal training, too.
Yes, exactly.
She graduated from musicschool, studied piano seriously.
(02:57):
So she got the technical side too.
Composition, harmony.
Gave her the tools to, youknow, build on that organic upbringing.
And what about the Lemko connection?
I know that's important.
Hugely important.
She has partial Lemko descent.
The Lemkos are this distinctethnic group from the Carpathian
Mountains.
Right.
With their own dialect, theirown really beautiful, often quite
(03:19):
melancholic folk traditions.
So how did she connect with that?
Well, after her family movedto Lviv, which is a major cultural
hub, she spent three yearssinging in a Lemko choir.
Actively for years.
Wow.
Yeah.
This wasn't just casual.
She even performed at theLemkivska Vatra festival.
That's a big deal for theLemko community, celebrating their
(03:39):
heritage.
It was a real immersion inthose specific roots, and that becomes
absolutely foundational forher music later on.
And she didn't just stop atmusic academically, did she?
There was university, too.
That's right.
She studied philology at theIvan Franco National University of
Lviv.
Philology.
So the study of languagetexts, history.
Exactly.
Literary criticism,linguistics, history, all rolled
(04:01):
into one.
And you might think, oh,that's separate from music.
But it actually honed herappreciation for words, for meaning,
for rhythm in language.
Ah, so it feeds into the lyrics.
Totally.
You hear that depth, thatpoetic quality in her songwriting
later, it sets her apart fromtypical pop lyrics.
It's this blend of deep folkroots and intellectual curiosity.
Okay, so you have this youngartist, deeply rooted, intellectually
(04:25):
curious.
And then comes the voice.
Right.
2013 Holos Craney, Ukraine'sbiggest singing show.
And her audition?
Well, it was a statement.
What did she sing?
Not some pop hit.
No way.
She chose a traditional Lemkosong, Gordolem Hozu, on this huge
national stage.
She picks this deep cut fromher heritage in it spoke volumes.
(04:48):
Wow.
That's bold.
It really was.
And it got her onto SvyatoslavVolkarchuk's team.
Vlad, the frontman of Oki andElzy, Ukraine's biggest rock band.
The very same.
A legend.
And here's the thing.
She became the first artist heever produced.
Seriously?
The first one?
Yep.
That's not just an endorsement.
That's a massive vote ofconfidence right out of the gate
from an industry giant.
So things took off from there.
(05:09):
But wasn't There somethingelse significant that happened around
that time?
A principle she established.
Yes, absolutely.
A defining principle.
Almost immediately, she statedcompletely, unequivocally, that she
would never sing Russian pop music.
Never.
That's a strong stance,especially back then.
Incredibly strong.
She even said she would quitthe show if she'd been picked by
(05:30):
a judge who sang mostly in Russian.
This wasn't like a laterpolitical stance.
This was early on.
It really foreshadowed thehuge shifts in Ukrainian cultural
identity that were coming.
Like she was ahead of thecurve in a way signaling that for
some artists, integrity andnational alignment were just non
negotiable.
Exactly.
Trumping any kind ofcommercial pressure.
(05:52):
It shows how an artist cansometimes be, you know, a cultural
vanguard.
It wasn't that risky declaringthat so publicly on a show like that.
Could she have alienated people?
You'd think so.
Perhaps.
But it seemed to strike a chord.
Her conviction was just so clear.
And the public support she gotright after that first broadcast
was immense.
Really?
Yeah, yeah.
It was a huge affirmation for her.
(06:12):
It showed there was this,like, hunger for authentic Ukrainian
music.
Music that spoke to something deeper.
So the audience was ready for it?
It seems.
They were.
That early validation was crucial.
It basically told her, stickto your guns, follow your path.
It gave her the confidence topursue music her way.
Win or lose, the contest,people were connecting with that
(06:33):
authenticity.
That's powerful.
Okay, so let's track thatcareer as it unfolded.
Yeah.
Success came pretty quickly.
Right.
Her debut album, Ziva voda,announced in 2015 at GoGolfest, which
is this cool avant garde festival.
Fitting, really.
And Ziva Voda means living water.
Yes.
And the album itself was thisdeliberate mix.
12 songs, 10 were modern takeson traditional Lemko folk songs,
(06:57):
and just two were her own originals.
So still very much leaninginto the folk roots, but updating
them.
Exactly.
That blend became her early hallmark.
When we say modernrearrangements, think keeping the
soul, the melody, the story ofthe folk song, but adding maybe subtle
electronics, differentrhythms, contemporary instruments,
not just acoustic folk.
Reverent, but forward looking.
(07:18):
Precisely.
And it worked.
It wasn't just niche.
It got major recognition,landed in the top P12 Ukrainian albums
of 2015.
And it was popular.
And the hits, Try My comes tomind immediately.
Oh, Try My Hold Me was massive.
An absolute sensation.
The music video, I mean, lastcheck, something like 65 million
views.
Yeah.
Which is just astronomical fora Ukrainian artist.
(07:38):
65 million.
Wow.
And Padoblachkum Under a Cloudalso did really well.
Millions of views.
Try My Even got nominated forBest Video Clip at the Yuna Award,
the big Ukrainian Music Awardsin 2016.
So huge impact musically and visually.
And industry recognitionfollowed too.
Yeah.
Radio Aristocrats named herStartup of the Year in Culture and
(07:58):
music in 2015.
It really cemented her arrival.
It proved that her blend, folkroots, modern sound, pop sensibility
wasn't just interesting,interesting, it resonated widely.
Okay, so debut success ishuge, but artists evolve.
What came next?
Did she stick with that formula?
Not entirely.
Her second album, Leo B DrewDear Friend, came out in 2018, and
(08:20):
it might a really significant shift.
How so?
This time she was reallystepping up as a songwriter.
11 out of the 12 tracks wereher own compositions.
Oh, wow.
So moving away from rearrangements.
Definitely leaning into herown voice.
And the sound evolved too.
More live instruments, youknow, or richer drums, strings adding
the cinematic feel.
Strong bass lines, but stillintegrated with electronic elements.
(08:43):
Synth pads for atmosphere oran electronic beat driving things
forward.
She called it a frankalternative to traditional Ukrainian
pop.
Right.
Yeah, that phrase is key.
She wasn't trying to fit in.
She was carving her own space.
Still Ukrainian, but modern,accessible, maybe a bit alternative.
And this album also connectedwith broader culture, didn't it?
A song used in a film.
(09:03):
Yes.
Stashka Path, a reallybeautiful lyrical song from the album.
It was chosen for theSoundtrack of.
Crudy 1918, the historicalaction film about the battle of Crudy.
That's significant.
Hugely significant.
The producer specificallysought her out, said they needed
a female voice for thenarrative and called her the soul
of modern Ukrainian music.
(09:24):
The soul of modern Ukrainian music.
That's quite a statement.
It really is.
It shows how deeply herauthenticity was connecting, how
she was seen as vital totelling these national stories.
And the awards kept coming too.
Another Yuna nomination forBest female performer in 2019.
She wasn't a newcomer anymore.
She was a major force.
Okay, so she's establishedherself as a songwriter, a unique
(09:46):
voice.
Then comes the 2020s and theRosa Ventorum series.
Sounds ambitious.
Very ambitious.
After a short break, she cameback with the single Unist Youth.
The video featured SerhiyZadan, the writer.
A big collaboration that gotpeople talking.
And she made some provocativecomments about that song.
She did.
She said it was about howUkrainian culture is super sexy and
(10:07):
you want it because it isstrong and seductive.
Wow.
That's quite a shift from thedelicate flower image some might
have had.
Exactly.
Assertive, confident,positioning Ukrainian culture and
her art as desirable, powerful.
Not just niche or traditional.
A reevaluation.
And Rosa Ventorum itself.
Win Rose in Latin.
(10:27):
A four part project.
Yeah.
The idea was each partrepresents a corner of the world.
Parts one and two came out in2021, part three in 2024.
It suggests this grander, moreconceptual framework for her music
now.
A journey, an expansive vision.
And then, of course, February2022 changed everything.
How did she respond artistically?
(10:48):
Immediately.
She released this incrediblypoignant adaptation of Belichow.
The Italian anti fascist anthem.
Yes, but she didn't just cover it.
She refocused its message,tailored it specifically to the Ukrainian
fight for freedom.
Turned this historical antheminto an immediate cry for her nation.
It was powerful.
A direct artistic response tothe invasion.
(11:09):
Absolutely.
And her connection toUkrainian Heritage continued.
In 2023, she contributed threesongs to the animated film Mavka,
the Forest Song.
Ah, yes.
Based on Lesa Ukraine's workand Ukrainian mythology.
Exactly.
A project she deeply admired.
Connecting ancient folklorewith modern animation.
A perfect fit for her.
And she's kept collaborating constantly.
In 2024, Devtayno Myla withVolodymyr Dante's, a modern take
(11:31):
on a classic Ukrainian song.
And then the 2025, Kolodnacold blood.
With Palindrum, the one filmedat the landfill.
That sounded visuallystriking, very stark, almost dystopian.
A real contrast to her earlierfolk pop aesthetic.
Shows her willingness to explExplore darker themes, different
visuals.
So she's constantly evolving,pushing boundaries.
(11:53):
Always in her sound, hervisuals, her collaborations.
That restless spirit isdefinitely a hallmark.
Which brings us to how shenavigates public life.
Because pushing boundariesoften means friction, controversies.
Oh, definitely.
She hasn't shied away from them.
Take the Surtsey churchcontroversy in 2023.
Right.
The music video with ZadanIsobeki filmed in Lviv.
(12:15):
What was the issue there?
The song means heart.
The video had this briefscene, literally just a few seconds
of two women kissing outsidethe Church of St. Andrew, a historic
Franciscan church in Lviv.
Okay, I can see how that mightcause a stir.
It touched a major nerve,especially in western Ukraine, where
the Greek Catholic Church isvery influential.
(12:36):
It was immediately seen aschallenging conservative Christian
values.
Did they anticipate the reaction?
Apparently, yes.
She and Zidane had actuallytalked about it beforehand, said
no sacrilege was intended,even mentioned.
They got permission to filmnear the.
Church complex, but thatdidn't help.
Not once the video was out.
The reaction from priests andchurch officials was strong.
They called it anti Christianpropaganda, demanded it be removed,
(12:59):
said it contradicted Christianmorality, desecrated a holy site.
It blew up into a national Debate.
Art versus religious conservatism.
Yeah.
Freedom of speech versussacred spaces.
Exactly.
A real flashpoint.
And her response?
Did she apologize?
Backtrack?
Not in the slightest.
Completely unapologetic.
In an interview, she basicallysaid she had no regrets and even
(13:21):
called the outrage free pr.
Wow.
Turning it to her advantage.
And she went further, declaredherself an atheist, criticized what
she called a problem withcritical thinking in Ukraine.
How explanations and contextoften don't sway deeply held beliefs.
That's a pretty sharp critique.
And she used the moment topush the Greek Catholic Church to
be more accepting of LGBTQ people.
(13:44):
So she turned this specificcontroversy into a platform for broader
social advocacy.
Fearless, really.
It really shows herwillingness to confront norms, even
powerful institutions.
Okay, what other publicbattles has she faced?
I remember something about Copyright.
Yes.
In 2024, her biggest hit, TryMy, was translated into Russian without
(14:05):
permission, obviously.
And used in an ice dancing show.
By whom?
By Tatiana Novka, who happensto be the wife of Dmitry Peskov,
Putin's press secretary.
Oh, w. That's audacious.
Especially given the context.
Beyond audacious.
Slavi immediately appealed forhelp, stressing it wasn't just about
her song being stolen, butabout Russia appropriating Ukrainian
cultural heritage.
(14:26):
It became symbolic.
Cultural appropriation is aweapon of war, essentially.
Precisely.
Claiming Ukrainian art asRussian, erasing its origin.
It highlighted that wholestruggle over national identity and
heritage.
And wasn't there anotherslightly different kind of legal
issue around the same time?
Something about swearing?
Ah, yes, the petty hooliganism charge.
It was quite something.
(14:47):
At a festival, she referred tothe former Soviet name of the city
of Kornomorsk Ilychevsk, namedafter Lenin, as complete bullshit.
Okay.
Blunt.
Very.
And local authorities actuallycharged her with petty hooliganism
and obscene swearing.
Seriously?
For that?
Yep.
But she was acquitted inSeptember 2024.
(15:07):
So you have this high stakesinternational cultural battle and
then this very local, almostabsurd public order dispute.
But both show her beingcompletely outspoken, refusing to
censor herself.
Whether it's cultural theft orremnants of the Soviet past, she
speaks her mind uncompromisingly.
Which leads us to the wholeissue of public image, something
she's clearly grappled with.
(15:27):
She felt like a hostage to animage sometimes, especially after
the voice.
Yeah.
She felt people saw herthrough this very narrow lens.
The delicate flower, or evenshe used the term nymphetic.
Not seeing the complexity underneath.
This would be incrediblyfrustrating for an.
Artist, especially one withher depth.
And what's fascinating is howher philology background kicked in.
She analyzed it.
How so she didn't just feel it.
(15:48):
She drew parallels to literature.
Nabokov's Lolita, ViktorPetrov, Girl with the Bear.
Seeing the nymphet not just asage, but as a psychotype.
This figure of innocence,fragility, but also allure, maybe
danger.
So she understood thearchetype she was being slotted into.
Exactly.
She said she kind of enjoyedthe aesthetics sometimes, but the
(16:11):
public's insistence on it wasreally constricting as she evolved.
It's pretty self aware,analyzing your own public Persona
through literary theory.
And the irony of her name,Solovi, meaning nightingale, and
the Ukrainian language beingcalled the nightingale language.
Right, Solovianomova.
It almost cemented that sweetethereal image from the start.
Didn't quite match the innerstrength, the intellect, the directness
(16:33):
she clearly possesses.
She had to actively pushagainst that prepackaged perception.
So she's constantly worked tobreak that mold?
Absolutely.
Experimenting with differentlooks, different roles in her videos,
different musical styles,trying to show the multifaceted,
evolving person she is, notjust that one archetype.
It's a masterclass in self definition.
It really is.
Okay, let's dive deeper intothe artistry itself, her musical
(16:56):
style.
People use a lot of labels.
Folk rock, pop, indie, dream pop.
How did you see it?
Well, that phrase she uses is key.
A frank alternative totraditional Ukrainian pop.
She consciously uses moreelectronics than say, just acoustic
guitars.
Right.
To give it that contemporary edge.
Exactly.
(17:16):
It creates a sound that'smodern, often atmospheric, but still
lets those traditional folkelements shine through.
Imagine those folk melodiesover synthesis, textures or electronic
beats.
It's a deliberate fusion, bothfamiliar and new.
And her influences are reallybroad, aren't they?
Spanning Ukrainian icons andinternational names.
Incredibly broad Ukrainianfigures like Ruslana, Maria Barmaka,
(17:38):
Nina Mefenko, connecting herto this lineage of powerful female
vocalists, but then literarygiants too.
Ivan Franco, Lena Kostenko,Alessia Ukranka makes.
Sense with the philology background.
Totally.
And then Sylvia Plath, whichhints at maybe a darker, more introspective
side.
Plath.
Interesting.
Enter her earlier listeningbands, eclectic mix.
Okean Elzie, of course, butalso Queen, the Eagles, Zamphyra,
(18:03):
the Russian rock singer, andeven the Rasmus, the gothic rock
band.
Wow.
Classic rock anthems, strongfemale voices, a bit of goth.
That explains the versatility.
It really does.
Creates this unique palette.
And her lyrics, as we said,very poetic, metaphorical though.
She made that funny commentabout not taking poetesses seriously
(18:23):
apart from the icons.
Because they were toosentimental, maybe.
Perhaps.
But ironically, her own lyricsare often described as Sentimental,
tender, melancholic, vulnerable.
So maybe a bit of playfulcontradiction there.
Distancing herself from alabel while embodying some of its
qualities.
Could be.
It shows a complexrelationship with poetry and her
own emotional expression.
But beyond the music itself,the city of Lviv seems absolutely
(18:46):
crucial to her.
Her fortress, she called it,where she cultivated her personality.
Yeah.
It wasn't just where she lived.
It shaped her like a characterin her story.
You feel that deep connection.
How did that manifest in herhabits, her inspirations?
Well, think about her visitingthe monument to Ivan Fedorov, the
old printer.
Her love for books, thebooksellers there, finding all those
(19:06):
different editions of Lolita.
That's such a specific,telling detail.
Shows that intellectualcuriosity, that fascination with
certain themes.
Exactly.
And then there's the Dziga art community.
That sounded like a reallyreal incubator.
Located in an old monastery.
An experimenting ground, she said.
Yeah, a place for youngartists, an open space for understanding
(19:27):
art.
Imagine folk musicians jammingwith visual artists.
Experimental theater next topoetry readings.
She even performed there witha Lemko bluegrass band before the
Voice.
It clearly fed into her blendof old and new.
Inspired albums like Louis B. Darrow.
A space for creative freedom.
And the Lis Kirbis theater wasimportant too.
She called it her home.
(19:47):
Even lived there as a student,immersed in it.
She talked about thedirector's method, how it involved
the audience, made them partof the creation.
Blurring the lines betweenperformer and spectator.
Exactly.
And you can see how thatresonates with her desire for connection,
for breaking down barriers inher own performances, creating an
experience.
And she contrasted Liv withother places.
(20:08):
Yeah, she saw Drowic, herhometown, as more provincial for
introspection.
Kyiv, the capital, lacked thatdeep, formative environment.
Lviv offered that mix ofhistory, art, freedom.
Lviv was unique for her development.
Even food memories tie in.
Ha.
Yes.
The Missouri salad atBechevsky restaurant, a simple thing,
but served artfully, speaks tohow Lviv imbues even everyday things
(20:31):
with a certain charm.
It paints this vivid pictureof the city's influence.
Hidden depths, history, likethe Corniac tower from the 16th century.
That sense of history,mystery, it all feeds into her art,
which bridges past and present.
The Viv is her anchor.
And speaking of bridging oldand new, she explored lyre making
with Hortieruk.
Yeah, the lyre, that ancientinstrument played by the Lernigi,
(20:53):
the blind bard singing epicsongs, sacred in Ukrainian tradition.
But she found contrasting interpretations.
That's what fascinated her.
In Ukraine, it's sacred,spiritual, linked to Folk wisdom,
but in Western Europe,sometimes depicted with courtesans
advertising brothels.
This duality, sacred versus profane.
Almost exactly.
And it led her to challengethe traditionalist view that only
(21:16):
men should play it, noting itsglobal resurgence.
Another example of herquestioning rigid perceptions, embracing
complexity, Always questioning.
Okay, let's shift to thereally personal side, which is often
very public for her.
Relationships, principles, activism.
The split with her producerVakhachuk in 2023 must have been
(21:37):
huge, monumental.
He discovered her, producedher for years.
She even said his initialoffer felt like getting married.
That's how serious acommitment it felt like prioritizing
music.
Above all, a life altering partnership.
So the split, was it messy?
Professionally, it seemsamicable enough.
She negotiated for a year toget her rights back.
Ended the contract on her own terms.
(21:57):
But personally, she expressedsadness about the communication breakdown.
He's known for being quiteprivate, right?
Yes.
She noted his closed nature,her desire for more dialogue.
It suggests the personal andprofessional were really tangled
up for her.
And the end was more than just business.
But she still valued hisinput, Definitely.
Credited him with simple butcorrect and decisive advice that
(22:18):
still guides her.
And she had this interestingthought that he saw his own songwriting
potential in her.
Unlike many other singers, heworked with a unique artistic kinship.
But she also insisted hermusic not sound like his band, Oki
and lz.
Crucially, yes, Right from the start.
Shows that fierce independence.
Wanting her own distinctidentity, not just being his protege.
(22:41):
But she acknowledged hissupport was vital.
Oh, absolutely.
Said point blank that withouthis financial and professional backing,
an artist like Cristina Soloviwould no longer exist.
It highlights how crucial thatinitial support was, even as she
ultimately sought autonomy.
Complex relationships.
From one complex relationshipto another.
The cosmic union with Serhi Zedan.
(23:02):
That got a lot of attention.
It did.
It started after heinterviewed her.
Interestingly, she admittedshe hadn't read his famous novels,
only his poetry.
And she approached thatinterview in a unique way.
Huh?
Yes.
She admitted to having anunconscious seductive manner, viewing
conversations as a form ofmanipulation or game.
Very candid self analysis there.
(23:23):
Quite revealing.
And their romance started atan intense time.
Literally the night before thefull scale invasion.
February 23, 2022.
Started online, then in person.
A relationship born right onthe brink of national catastrophe.
Cosmic union, she called it.
Faded intense.
Yeah, they kept it private initially.
She was in another relationship.
(23:44):
He was still married.
Complexities.
They presented their unistvideo collaboration as just a creative
tandem to manage the public image.
Understandable.
But the relationship itselfwas difficult.
Incredibly intense, she said.
Demanding.
Led to her being on Antidepressants.
And ultimately, she ended it.
Why?
She stated very frankly, Ifell in love with another man.
(24:04):
That's incredibly direct for apublic figure.
It is.
She regretted not being moredirect with Zadan, though.
Blame, fear, their crazy schedules.
But despite the difficulty,she credited him immensely, Called
him the engine of the relationship.
Learn from his relentless energy.
A person with two hearts, she said.
Grateful for his gifts, poems, introductions.
(24:26):
Sounds transformative, but tough.
A period of intense growth, maybe.
And now?
New beginnings.
Yes.
Her current relationship iswith a man about 10 years older.
She says he makes me trulyhappy and fills me.
Provides strength, inspiration.
Sounds like a more grounding,supportive connection.
Good for her.
Finding that stability seemsimportant for her art now.
(24:48):
Beyond personal relationships,what about her principles, her activism?
Always strong.
Early on, she consistentlyrefused political campaign gigs despite
offers.
Wanted to keep her artseparate from party politics.
A boundary many artistsgrapple with.
Yeah, and she's also a vocaladvocate for animal rights.
Supporting groups like youeAnimals, inspired by Brigitte Bardot,
shows that broader compassion.
(25:08):
But the 2022 invasion reallyshifted things, didn't it?
Her activism intensifieddramatically, adapting Bella Chao
immediately, then dedicatingherself to fundraising for the armed
forces, raising over 100,000goldas through concerts abroad in
just the first few months.
Direct, tangible impact.
And she redefined the role ofculture in wartime.
(25:31):
Fundamentally believesUkrainian culture must take place
during war.
Not a luxury, but essentialfor resilience.
She gives free concerts forsoldiers on the front lines.
Seeing it is more than just fundraising.
Exactly.
More about cultural emotional support.
Reminding them of theirhumanity, their heritage, what they're
fighting for, sustaining their spirit.
(25:51):
That's a powerful philosophy.
Art as necessity.
And her views on art outsidepolitics changed completely.
Totally reversed.
Now believes an artist's voicemust merge with the cry of their
nation.
No more neutrality whensurvival is stake.
It's an existential stance.
And she's tough on those whocollaborated culturally with Russia
in the past.
Uncompromising.
Says those who built culturalbridges pre invasion, have blood
(26:14):
on their hands.
Rejects tolerance orforgiveness for what she sees as
cultural appeasement thatenabled aggression.
It's a stark moral reckoning.
A very strong, maybecontroversial position.
No room for gray areas there.
None.
In her view, accountability is paramount.
And she also pushes backagainst the idea that the war was
somehow needed.
(26:35):
But for Ukraine's derussification.
She doesn't buy that.
No.
Believes it was happeningnaturally, organically.
The war just accelerated itviolently, at an unbearable human
cost.
She rejects any narrative thatfinds a silver lining in the war
for cultural purification.
The tragedy Outweighs everything.
A deeply human perspective oncultural change amidst horrific violence.
(26:56):
Her clarity on these issues is striking.
Wow, what an incredible,complex journey we've traced.
Christina Sulave really doesrefuse easy definition, doesn't she?
She's such a testament toartistic integrity, personal conviction,
that deep connection to roots,even as she pushes against them.
Absolutely.
From challenging musicalnorms, navigating those intense public
(27:16):
controversies, dealing withpersonal struggles, becoming this
fierce national advocate.
Her story is just thisvibrant, essential thread in contemporary
Ukrainian culture.
Yeah, her path really remindsyou, doesn't it?
The public figures are so muchmore complex than the images we often
see.
That struggle forauthenticity, her fierce defense
of cultural heritage, herwillingness to face really uncomfortable
(27:39):
truths.
It gives us huge insights intowhat's happening in Ukraine, but
also broader shifts in the world.
Definitely.
It illuminates that vital roleart plays, not just reflecting national
identity, but actively shapingit, especially in times like these,
times of profound change and,frankly, existential threat.
So as we wrap up this deepdive, maybe her own words offer the
(28:00):
best food for thought for you,our listener.
She said, reflecting on thechurch controversy, we have a problem
with critical thinking.
No matter how much youexplain, no matter how much context
you give, you will not be ableto oppose their beliefs.
A powerful, maybe slightlybleak observation.
It is.
So, thinking about her story,her battles, her uncompromising nature,
what does that quote tell youabout the challenges we all face?
(28:23):
Fostering understanding,trying to have open dialogue, navigating
these deeply entrenchedbeliefs in a world that feels increasingly
polarized.
What stands out to you aboutthat tension?
The power of belief versus theoften difficult pursuit of truth.
Welcome, deep divers.
Ever wonder what it takes foran artist to, well, not just get
by, but really thrive wheneverything around them is changing?
Culture, politics, national identity?
It's a huge question, isn't it?
Yeah.
Today we're diving deep intothe life of a Ukrainian artist who's
done exactly that.
She's this creative force whokeeps pushing boundaries but stays
(00:24):
incredibly fiercely true toher own vision.
She really is a fascinating figure.
Her journey kind of embodiesthis profound connection to her roots,
but also this fearlesswillingness to challenge norms.
And always this unwaveringcommitment to her art and to her
country.
Absolutely.
Her story gives us thisamazing lens, doesn't it, to explore
all those complex things likeidentity, cultural heritage, public
(00:48):
perception, especially in theworld today.
Exactly.
It's all tangled together.
So what's our mission for thisdeep dive?
We're going to unpack themultifaceted story of Christina Salavi.
We'll trace her evolution, youknow, from this musical prodigy steeped
in tradition, right up tobeing this prominent, pretty controversial
cultural voice.
We'll look at her artisticpath, definitely delve into some
of the public conversations,the controversies she sparked, and
(01:10):
try to.
Uncover those deeply personalconvictions that seem to shape everything
she does.
So get ready for somesurprising facts, maybe some rich
cultural context, and.
And hopefully some realinsights into how powerful art can
be, especially during huge changes.
Yeah, this dive reallypromises a compelling journey.
We'll see how contemporaryartists evolve, how personal beliefs
(01:32):
and national identity getwoven together, especially when the
world demands so much frompublic figures.
We can connect her experiencesto those bigger themes like artistic
integrity, freedom ofexpression, and honestly, the potent
role culture plays in times ofmassive upheaval.
It's often underestimated.
Okay, so let's start right there.
Let's kick off by painting a portrait.
(01:53):
Who is Christina Solovi?
An artist rooted in tradition,but, like you said, always pushing.
Well, she was born inDrohobych, that's in western Ukraine,
back in 1993.
And her childhood was just,well, completely saturated with music.
It wasn't just background noise.
Her mother taught choir.
So imagine from a really youngage, she's absorbing harmony, the
(02:14):
power of voices together, thestories in the songs.
Wow.
Okay.
And it goes deeper.
Her grandmother actually led abandurist ensemble, a bandura.
Remind our listeners, right?
It's that traditionalUkrainian instrument, plucked strings,
sort of like a lute meets a zigger.
Really resonant sound.
So Kristina's earliestmemories are filled with these Galician
(02:35):
folk songs, Ukrainian fairytales set to music.
So it's like her artistic DNAwas being formed right there.
Absolutely.
These intricate melodies, the storytelling.
It wasn't just hearing music,it was learning the essence of Ukrainian
cultural narrative.
That's an incredible foundation.
And it wasn't just informal.
Right.
She had formal training, too.
Yes, exactly.
She graduated from musicschool, studied piano seriously.
(02:57):
So she got the technical side too.
Composition, harmony.
Gave her the tools to, youknow, build on that organic upbringing.
And what about the Lemko connection?
I know that's important.
Hugely important.
She has partial Lemko descent.
The Lemkos are this distinctethnic group from the Carpathian
Mountains.
Right.
With their own dialect, theirown really beautiful, often quite
(03:19):
melancholic folk traditions.
So how did she connect with that?
Well, after her family movedto Lviv, which is a major cultural
hub, she spent three yearssinging in a Lemko choir.
Actively for years.
Wow.
Yeah.
This wasn't just casual.
She even performed at theLemkivska Vatra festival.
That's a big deal for theLemko community, celebrating their
(03:39):
heritage.
It was a real immersion inthose specific roots, and that becomes
absolutely foundational forher music later on.
And she didn't just stop atmusic academically, did she?
There was university, too.
That's right.
She studied philology at theIvan Franco National University of
Lviv.
Philology.
So the study of languagetexts, history.
Exactly.
Literary criticism,linguistics, history, all rolled
(04:01):
into one.
And you might think, oh,that's separate from music.
But it actually honed herappreciation for words, for meaning,
for rhythm in language.
Ah, so it feeds into the lyrics.
Totally.
You hear that depth, thatpoetic quality in her songwriting
later, it sets her apart fromtypical pop lyrics.
It's this blend of deep folkroots and intellectual curiosity.
Okay, so you have this youngartist, deeply rooted, intellectually
(04:25):
curious.
And then comes the voice.
Right.
2013 Holos Craney, Ukraine'sbiggest singing show.
And her audition?
Well, it was a statement.
What did she sing?
Not some pop hit.
No way.
She chose a traditional Lemkosong, Gordolem Hozu, on this huge
national stage.
She picks this deep cut fromher heritage in it spoke volumes.
(04:48):
Wow.
That's bold.
It really was.
And it got her onto SvyatoslavVolkarchuk's team.
Vlad, the frontman of Oki andElzy, Ukraine's biggest rock band.
The very same.
A legend.
And here's the thing.
She became the first artist heever produced.
Seriously?
The first one?
Yep.
That's not just an endorsement.
That's a massive vote ofconfidence right out of the gate
from an industry giant.
So things took off from there.
(05:09):
But wasn't There somethingelse significant that happened around
that time?
A principle she established.
Yes, absolutely.
A defining principle.
Almost immediately, she statedcompletely, unequivocally, that she
would never sing Russian pop music.
Never.
That's a strong stance,especially back then.
Incredibly strong.
She even said she would quitthe show if she'd been picked by
(05:30):
a judge who sang mostly in Russian.
This wasn't like a laterpolitical stance.
This was early on.
It really foreshadowed thehuge shifts in Ukrainian cultural
identity that were coming.
Like she was ahead of thecurve in a way signaling that for
some artists, integrity andnational alignment were just non
negotiable.
Exactly.
Trumping any kind ofcommercial pressure.
(05:52):
It shows how an artist cansometimes be, you know, a cultural
vanguard.
It wasn't that risky declaringthat so publicly on a show like that.
Could she have alienated people?
You'd think so.
Perhaps.
But it seemed to strike a chord.
Her conviction was just so clear.
And the public support she gotright after that first broadcast
was immense.
Really?
Yeah, yeah.
It was a huge affirmation for her.
(06:12):
It showed there was this,like, hunger for authentic Ukrainian
music.
Music that spoke to something deeper.
So the audience was ready for it?
It seems.
They were.
That early validation was crucial.
It basically told her, stickto your guns, follow your path.
It gave her the confidence topursue music her way.
Win or lose, the contest,people were connecting with that
(06:33):
authenticity.
That's powerful.
Okay, so let's track thatcareer as it unfolded.
Yeah.
Success came pretty quickly.
Right.
Her debut album, Ziva voda,announced in 2015 at GoGolfest, which
is this cool avant garde festival.
Fitting, really.
And Ziva Voda means living water.
Yes.
And the album itself was thisdeliberate mix.
12 songs, 10 were modern takeson traditional Lemko folk songs,
(06:57):
and just two were her own originals.
So still very much leaninginto the folk roots, but updating
them.
Exactly.
That blend became her early hallmark.
When we say modernrearrangements, think keeping the
soul, the melody, the story ofthe folk song, but adding maybe subtle
electronics, differentrhythms, contemporary instruments,
not just acoustic folk.
Reverent, but forward looking.
(07:18):
Precisely.
And it worked.
It wasn't just niche.
It got major recognition,landed in the top P12 Ukrainian albums
of 2015.
And it was popular.
And the hits, Try My comes tomind immediately.
Oh, Try My Hold Me was massive.
An absolute sensation.
The music video, I mean, lastcheck, something like 65 million
views.
Yeah.
Which is just astronomical fora Ukrainian artist.
(07:38):
65 million.
Wow.
And Padoblachkum Under a Cloudalso did really well.
Millions of views.
Try My Even got nominated forBest Video Clip at the Yuna Award,
the big Ukrainian Music Awardsin 2016.
So huge impact musically and visually.
And industry recognitionfollowed too.
Yeah.
Radio Aristocrats named herStartup of the Year in Culture and
(07:58):
music in 2015.
It really cemented her arrival.
It proved that her blend, folkroots, modern sound, pop sensibility
wasn't just interesting,interesting, it resonated widely.
Okay, so debut success ishuge, but artists evolve.
What came next?
Did she stick with that formula?
Not entirely.
Her second album, Leo B DrewDear Friend, came out in 2018, and
(08:20):
it might a really significant shift.
How so?
This time she was reallystepping up as a songwriter.
11 out of the 12 tracks wereher own compositions.
Oh, wow.
So moving away from rearrangements.
Definitely leaning into herown voice.
And the sound evolved too.
More live instruments, youknow, or richer drums, strings adding
the cinematic feel.
Strong bass lines, but stillintegrated with electronic elements.
(08:43):
Synth pads for atmosphere oran electronic beat driving things
forward.
She called it a frankalternative to traditional Ukrainian
pop.
Right.
Yeah, that phrase is key.
She wasn't trying to fit in.
She was carving her own space.
Still Ukrainian, but modern,accessible, maybe a bit alternative.
And this album also connectedwith broader culture, didn't it?
A song used in a film.
(09:03):
Yes.
Stashka Path, a reallybeautiful lyrical song from the album.
It was chosen for theSoundtrack of.
Crudy 1918, the historicalaction film about the battle of Crudy.
That's significant.
Hugely significant.
The producer specificallysought her out, said they needed
a female voice for thenarrative and called her the soul
of modern Ukrainian music.
(09:24):
The soul of modern Ukrainian music.
That's quite a statement.
It really is.
It shows how deeply herauthenticity was connecting, how
she was seen as vital totelling these national stories.
And the awards kept coming too.
Another Yuna nomination forBest female performer in 2019.
She wasn't a newcomer anymore.
She was a major force.
Okay, so she's establishedherself as a songwriter, a unique
(09:46):
voice.
Then comes the 2020s and theRosa Ventorum series.
Sounds ambitious.
Very ambitious.
After a short break, she cameback with the single Unist Youth.
The video featured SerhiyZadan, the writer.
A big collaboration that gotpeople talking.
And she made some provocativecomments about that song.
She did.
She said it was about howUkrainian culture is super sexy and
(10:07):
you want it because it isstrong and seductive.
Wow.
That's quite a shift from thedelicate flower image some might
have had.
Exactly.
Assertive, confident,positioning Ukrainian culture and
her art as desirable, powerful.
Not just niche or traditional.
A reevaluation.
And Rosa Ventorum itself.
Win Rose in Latin.
(10:27):
A four part project.
Yeah.
The idea was each partrepresents a corner of the world.
Parts one and two came out in2021, part three in 2024.
It suggests this grander, moreconceptual framework for her music
now.
A journey, an expansive vision.
And then, of course, February2022 changed everything.
How did she respond artistically?
(10:48):
Immediately.
She released this incrediblypoignant adaptation of Belichow.
The Italian anti fascist anthem.
Yes, but she didn't just cover it.
She refocused its message,tailored it specifically to the Ukrainian
fight for freedom.
Turned this historical antheminto an immediate cry for her nation.
It was powerful.
A direct artistic response tothe invasion.
(11:09):
Absolutely.
And her connection toUkrainian Heritage continued.
In 2023, she contributed threesongs to the animated film Mavka,
the Forest Song.
Ah, yes.
Based on Lesa Ukraine's workand Ukrainian mythology.
Exactly.
A project she deeply admired.
Connecting ancient folklorewith modern animation.
A perfect fit for her.
And she's kept collaborating constantly.
In 2024, Devtayno Myla withVolodymyr Dante's, a modern take
(11:31):
on a classic Ukrainian song.
And then the 2025, Kolodnacold blood.
With Palindrum, the one filmedat the landfill.
That sounded visuallystriking, very stark, almost dystopian.
A real contrast to her earlierfolk pop aesthetic.
Shows her willingness to explExplore darker themes, different
visuals.
So she's constantly evolving,pushing boundaries.
(11:53):
Always in her sound, hervisuals, her collaborations.
That restless spirit isdefinitely a hallmark.
Which brings us to how shenavigates public life.
Because pushing boundariesoften means friction, controversies.
Oh, definitely.
She hasn't shied away from them.
Take the Surtsey churchcontroversy in 2023.
Right.
The music video with ZadanIsobeki filmed in Lviv.
(12:15):
What was the issue there?
The song means heart.
The video had this briefscene, literally just a few seconds
of two women kissing outsidethe Church of St. Andrew, a historic
Franciscan church in Lviv.
Okay, I can see how that mightcause a stir.
It touched a major nerve,especially in western Ukraine, where
the Greek Catholic Church isvery influential.
(12:36):
It was immediately seen aschallenging conservative Christian
values.
Did they anticipate the reaction?
Apparently, yes.
She and Zidane had actuallytalked about it beforehand, said
no sacrilege was intended,even mentioned.
They got permission to filmnear the.
Church complex, but thatdidn't help.
Not once the video was out.
The reaction from priests andchurch officials was strong.
They called it anti Christianpropaganda, demanded it be removed,
(12:59):
said it contradicted Christianmorality, desecrated a holy site.
It blew up into a national Debate.
Art versus religious conservatism.
Yeah.
Freedom of speech versussacred spaces.
Exactly.
A real flashpoint.
And her response?
Did she apologize?
Backtrack?
Not in the slightest.
Completely unapologetic.
In an interview, she basicallysaid she had no regrets and even
(13:21):
called the outrage free pr.
Wow.
Turning it to her advantage.
And she went further, declaredherself an atheist, criticized what
she called a problem withcritical thinking in Ukraine.
How explanations and contextoften don't sway deeply held beliefs.
That's a pretty sharp critique.
And she used the moment topush the Greek Catholic Church to
be more accepting of LGBTQ people.
(13:44):
So she turned this specificcontroversy into a platform for broader
social advocacy.
Fearless, really.
It really shows herwillingness to confront norms, even
powerful institutions.
Okay, what other publicbattles has she faced?
I remember something about Copyright.
Yes.
In 2024, her biggest hit, TryMy, was translated into Russian without
(14:05):
permission, obviously.
And used in an ice dancing show.
By whom?
By Tatiana Novka, who happensto be the wife of Dmitry Peskov,
Putin's press secretary.
Oh, w. That's audacious.
Especially given the context.
Beyond audacious.
Slavi immediately appealed forhelp, stressing it wasn't just about
her song being stolen, butabout Russia appropriating Ukrainian
cultural heritage.
(14:26):
It became symbolic.
Cultural appropriation is aweapon of war, essentially.
Precisely.
Claiming Ukrainian art asRussian, erasing its origin.
It highlighted that wholestruggle over national identity and
heritage.
And wasn't there anotherslightly different kind of legal
issue around the same time?
Something about swearing?
Ah, yes, the petty hooliganism charge.
It was quite something.
(14:47):
At a festival, she referred tothe former Soviet name of the city
of Kornomorsk Ilychevsk, namedafter Lenin, as complete bullshit.
Okay.
Blunt.
Very.
And local authorities actuallycharged her with petty hooliganism
and obscene swearing.
Seriously?
For that?
Yep.
But she was acquitted inSeptember 2024.
(15:07):
So you have this high stakesinternational cultural battle and
then this very local, almostabsurd public order dispute.
But both show her beingcompletely outspoken, refusing to
censor herself.
Whether it's cultural theft orremnants of the Soviet past, she
speaks her mind uncompromisingly.
Which leads us to the wholeissue of public image, something
she's clearly grappled with.
(15:27):
She felt like a hostage to animage sometimes, especially after
the voice.
Yeah.
She felt people saw herthrough this very narrow lens.
The delicate flower, or evenshe used the term nymphetic.
Not seeing the complexity underneath.
This would be incrediblyfrustrating for an.
Artist, especially one withher depth.
And what's fascinating is howher philology background kicked in.
She analyzed it.
How so she didn't just feel it.
(15:48):
She drew parallels to literature.
Nabokov's Lolita, ViktorPetrov, Girl with the Bear.
Seeing the nymphet not just asage, but as a psychotype.
This figure of innocence,fragility, but also allure, maybe
danger.
So she understood thearchetype she was being slotted into.
Exactly.
She said she kind of enjoyedthe aesthetics sometimes, but the
(16:11):
public's insistence on it wasreally constricting as she evolved.
It's pretty self aware,analyzing your own public Persona
through literary theory.
And the irony of her name,Solovi, meaning nightingale, and
the Ukrainian language beingcalled the nightingale language.
Right, Solovianomova.
It almost cemented that sweetethereal image from the start.
Didn't quite match the innerstrength, the intellect, the directness
(16:33):
she clearly possesses.
She had to actively pushagainst that prepackaged perception.
So she's constantly worked tobreak that mold?
Absolutely.
Experimenting with differentlooks, different roles in her videos,
different musical styles,trying to show the multifaceted,
evolving person she is, notjust that one archetype.
It's a masterclass in self definition.
It really is.
Okay, let's dive deeper intothe artistry itself, her musical
(16:56):
style.
People use a lot of labels.
Folk rock, pop, indie, dream pop.
How did you see it?
Well, that phrase she uses is key.
A frank alternative totraditional Ukrainian pop.
She consciously uses moreelectronics than say, just acoustic
guitars.
Right.
To give it that contemporary edge.
Exactly.
(17:16):
It creates a sound that'smodern, often atmospheric, but still
lets those traditional folkelements shine through.
Imagine those folk melodiesover synthesis, textures or electronic
beats.
It's a deliberate fusion, bothfamiliar and new.
And her influences are reallybroad, aren't they?
Spanning Ukrainian icons andinternational names.
Incredibly broad Ukrainianfigures like Ruslana, Maria Barmaka,
(17:38):
Nina Mefenko, connecting herto this lineage of powerful female
vocalists, but then literarygiants too.
Ivan Franco, Lena Kostenko,Alessia Ukranka makes.
Sense with the philology background.
Totally.
And then Sylvia Plath, whichhints at maybe a darker, more introspective
side.
Plath.
Interesting.
Enter her earlier listeningbands, eclectic mix.
Okean Elzie, of course, butalso Queen, the Eagles, Zamphyra,
(18:03):
the Russian rock singer, andeven the Rasmus, the gothic rock
band.
Wow.
Classic rock anthems, strongfemale voices, a bit of goth.
That explains the versatility.
It really does.
Creates this unique palette.
And her lyrics, as we said,very poetic, metaphorical though.
She made that funny commentabout not taking poetesses seriously
(18:23):
apart from the icons.
Because they were toosentimental, maybe.
Perhaps.
But ironically, her own lyricsare often described as Sentimental,
tender, melancholic, vulnerable.
So maybe a bit of playfulcontradiction there.
Distancing herself from alabel while embodying some of its
qualities.
Could be.
It shows a complexrelationship with poetry and her
own emotional expression.
But beyond the music itself,the city of Lviv seems absolutely
(18:46):
crucial to her.
Her fortress, she called it,where she cultivated her personality.
Yeah.
It wasn't just where she lived.
It shaped her like a characterin her story.
You feel that deep connection.
How did that manifest in herhabits, her inspirations?
Well, think about her visitingthe monument to Ivan Fedorov, the
old printer.
Her love for books, thebooksellers there, finding all those
(19:06):
different editions of Lolita.
That's such a specific,telling detail.
Shows that intellectualcuriosity, that fascination with
certain themes.
Exactly.
And then there's the Dziga art community.
That sounded like a reallyreal incubator.
Located in an old monastery.
An experimenting ground, she said.
Yeah, a place for youngartists, an open space for understanding
(19:27):
art.
Imagine folk musicians jammingwith visual artists.
Experimental theater next topoetry readings.
She even performed there witha Lemko bluegrass band before the
Voice.
It clearly fed into her blendof old and new.
Inspired albums like Louis B. Darrow.
A space for creative freedom.
And the Lis Kirbis theater wasimportant too.
She called it her home.
(19:47):
Even lived there as a student,immersed in it.
She talked about thedirector's method, how it involved
the audience, made them partof the creation.
Blurring the lines betweenperformer and spectator.
Exactly.
And you can see how thatresonates with her desire for connection,
for breaking down barriers inher own performances, creating an
experience.
And she contrasted Liv withother places.
(20:08):
Yeah, she saw Drowic, herhometown, as more provincial for
introspection.
Kyiv, the capital, lacked thatdeep, formative environment.
Lviv offered that mix ofhistory, art, freedom.
Lviv was unique for her development.
Even food memories tie in.
Ha.
Yes.
The Missouri salad atBechevsky restaurant, a simple thing,
but served artfully, speaks tohow Lviv imbues even everyday things
(20:31):
with a certain charm.
It paints this vivid pictureof the city's influence.
Hidden depths, history, likethe Corniac tower from the 16th century.
That sense of history,mystery, it all feeds into her art,
which bridges past and present.
The Viv is her anchor.
And speaking of bridging oldand new, she explored lyre making
with Hortieruk.
Yeah, the lyre, that ancientinstrument played by the Lernigi,
(20:53):
the blind bard singing epicsongs, sacred in Ukrainian tradition.
But she found contrasting interpretations.
That's what fascinated her.
In Ukraine, it's sacred,spiritual, linked to Folk wisdom,
but in Western Europe,sometimes depicted with courtesans
advertising brothels.
This duality, sacred versus profane.
Almost exactly.
And it led her to challengethe traditionalist view that only
(21:16):
men should play it, noting itsglobal resurgence.
Another example of herquestioning rigid perceptions, embracing
complexity, Always questioning.
Okay, let's shift to thereally personal side, which is often
very public for her.
Relationships, principles, activism.
The split with her producerVakhachuk in 2023 must have been
(21:37):
huge, monumental.
He discovered her, producedher for years.
She even said his initialoffer felt like getting married.
That's how serious acommitment it felt like prioritizing
music.
Above all, a life altering partnership.
So the split, was it messy?
Professionally, it seemsamicable enough.
She negotiated for a year toget her rights back.
Ended the contract on her own terms.
(21:57):
But personally, she expressedsadness about the communication breakdown.
He's known for being quiteprivate, right?
Yes.
She noted his closed nature,her desire for more dialogue.
It suggests the personal andprofessional were really tangled
up for her.
And the end was more than just business.
But she still valued hisinput, Definitely.
Credited him with simple butcorrect and decisive advice that
(22:18):
still guides her.
And she had this interestingthought that he saw his own songwriting
potential in her.
Unlike many other singers, heworked with a unique artistic kinship.
But she also insisted hermusic not sound like his band, Oki
and lz.
Crucially, yes, Right from the start.
Shows that fierce independence.
Wanting her own distinctidentity, not just being his protege.
(22:41):
But she acknowledged hissupport was vital.
Oh, absolutely.
Said point blank that withouthis financial and professional backing,
an artist like Cristina Soloviwould no longer exist.
It highlights how crucial thatinitial support was, even as she
ultimately sought autonomy.
Complex relationships.
From one complex relationshipto another.
The cosmic union with Serhi Zedan.
(23:02):
That got a lot of attention.
It did.
It started after heinterviewed her.
Interestingly, she admittedshe hadn't read his famous novels,
only his poetry.
And she approached thatinterview in a unique way.
Huh?
Yes.
She admitted to having anunconscious seductive manner, viewing
conversations as a form ofmanipulation or game.
Very candid self analysis there.
(23:23):
Quite revealing.
And their romance started atan intense time.
Literally the night before thefull scale invasion.
February 23, 2022.
Started online, then in person.
A relationship born right onthe brink of national catastrophe.
Cosmic union, she called it.
Faded intense.
Yeah, they kept it private initially.
She was in another relationship.
(23:44):
He was still married.
Complexities.
They presented their unistvideo collaboration as just a creative
tandem to manage the public image.
Understandable.
But the relationship itselfwas difficult.
Incredibly intense, she said.
Demanding.
Led to her being on Antidepressants.
And ultimately, she ended it.
Why?
She stated very frankly, Ifell in love with another man.
(24:04):
That's incredibly direct for apublic figure.
It is.
She regretted not being moredirect with Zadan, though.
Blame, fear, their crazy schedules.
But despite the difficulty,she credited him immensely, Called
him the engine of the relationship.
Learn from his relentless energy.
A person with two hearts, she said.
Grateful for his gifts, poems, introductions.
(24:26):
Sounds transformative, but tough.
A period of intense growth, maybe.
And now?
New beginnings.
Yes.
Her current relationship iswith a man about 10 years older.
She says he makes me trulyhappy and fills me.
Provides strength, inspiration.
Sounds like a more grounding,supportive connection.
Good for her.
Finding that stability seemsimportant for her art now.
(24:48):
Beyond personal relationships,what about her principles, her activism?
Always strong.
Early on, she consistentlyrefused political campaign gigs despite
offers.
Wanted to keep her artseparate from party politics.
A boundary many artistsgrapple with.
Yeah, and she's also a vocaladvocate for animal rights.
Supporting groups like youeAnimals, inspired by Brigitte Bardot,
shows that broader compassion.
(25:08):
But the 2022 invasion reallyshifted things, didn't it?
Her activism intensifieddramatically, adapting Bella Chao
immediately, then dedicatingherself to fundraising for the armed
forces, raising over 100,000goldas through concerts abroad in
just the first few months.
Direct, tangible impact.
And she redefined the role ofculture in wartime.
(25:31):
Fundamentally believesUkrainian culture must take place
during war.
Not a luxury, but essentialfor resilience.
She gives free concerts forsoldiers on the front lines.
Seeing it is more than just fundraising.
Exactly.
More about cultural emotional support.
Reminding them of theirhumanity, their heritage, what they're
fighting for, sustaining their spirit.
(25:51):
That's a powerful philosophy.
Art as necessity.
And her views on art outsidepolitics changed completely.
Totally reversed.
Now believes an artist's voicemust merge with the cry of their
nation.
No more neutrality whensurvival is stake.
It's an existential stance.
And she's tough on those whocollaborated culturally with Russia
in the past.
Uncompromising.
Says those who built culturalbridges pre invasion, have blood
(26:14):
on their hands.
Rejects tolerance orforgiveness for what she sees as
cultural appeasement thatenabled aggression.
It's a stark moral reckoning.
A very strong, maybecontroversial position.
No room for gray areas there.
None.
In her view, accountability is paramount.
And she also pushes backagainst the idea that the war was
somehow needed.
(26:35):
But for Ukraine's derussification.
She doesn't buy that.
No.
Believes it was happeningnaturally, organically.
The war just accelerated itviolently, at an unbearable human
cost.
She rejects any narrative thatfinds a silver lining in the war
for cultural purification.
The tragedy Outweighs everything.
A deeply human perspective oncultural change amidst horrific violence.
(26:56):
Her clarity on these issues is striking.
Wow, what an incredible,complex journey we've traced.
Christina Sulave really doesrefuse easy definition, doesn't she?
She's such a testament toartistic integrity, personal conviction,
that deep connection to roots,even as she pushes against them.
Absolutely.
From challenging musicalnorms, navigating those intense public
(27:16):
controversies, dealing withpersonal struggles, becoming this
fierce national advocate.
Her story is just thisvibrant, essential thread in contemporary
Ukrainian culture.
Yeah, her path really remindsyou, doesn't it?
The public figures are so muchmore complex than the images we often
see.
That struggle forauthenticity, her fierce defense
of cultural heritage, herwillingness to face really uncomfortable
(27:39):
truths.
It gives us huge insights intowhat's happening in Ukraine, but
also broader shifts in the world.
Definitely.
It illuminates that vital roleart plays, not just reflecting national
identity, but actively shapingit, especially in times like these,
times of profound change and,frankly, existential threat.
So as we wrap up this deepdive, maybe her own words offer the
(28:00):
best food for thought for you,our listener.
She said, reflecting on thechurch controversy, we have a problem
with critical thinking.
No matter how much youexplain, no matter how much context
you give, you will not be ableto oppose their beliefs.
A powerful, maybe slightlybleak observation.
It is.
So, thinking about her story,her battles, her uncompromising nature,
what does that quote tell youabout the challenges we all face?
(28:23):
Fostering understanding,trying to have open dialogue, navigating
these deeply entrenchedbeliefs in a world that feels increasingly
polarized.
What stands out to you aboutthat tension?
The power of belief versus theoften difficult pursuit of truth.
Popular Podcasts
New Heights with Jason & Travis Kelce
Football’s funniest family duo — Jason Kelce of the Philadelphia Eagles and Travis Kelce of the Kansas City Chiefs — team up to provide next-level access to life in the league as it unfolds. The two brothers and Super Bowl champions drop weekly insights about the weekly slate of games and share their INSIDE perspectives on trending NFL news and sports headlines. They also endlessly rag on each other as brothers do, chat the latest in pop culture and welcome some very popular and well-known friends to chat with them. Check out new episodes every Wednesday. Follow New Heights on the Wondery App, YouTube or wherever you get your podcasts. You can listen to new episodes early and ad-free, and get exclusive content on Wondery+. Join Wondery+ in the Wondery App, Apple Podcasts or Spotify. And join our new membership for a unique fan experience by going to the New Heights YouTube channel now!
The Breakfast Club
The World's Most Dangerous Morning Show, The Breakfast Club, With DJ Envy, Jess Hilarious, And Charlamagne Tha God!
Fudd Around And Find Out
UConn basketball star Azzi Fudd brings her championship swag to iHeart Women’s Sports with Fudd Around and Find Out, a weekly podcast that takes fans along for the ride as Azzi spends her final year of college trying to reclaim the National Championship and prepare to be a first round WNBA draft pick. Ever wonder what it’s like to be a world-class athlete in the public spotlight while still managing schoolwork, friendships and family time? It’s time to Fudd Around and Find Out!