Kaveh Yaghmaei: Iranian Artists Must Choose Between the People or the Government

Kaveh Yaghmaei, a prominent Iranian singer, composer, and musician, has recently released two new songs titled "Fresh Air" and "Great Crisis." These pieces reflect Yaghmaei's thoughts and concerns as an alternative and dissenting artist against the Islamic Republic, featuring rock music style and lyrics with social and political themes. Yaghmaei tells Voice of America that "Fresh Air" relates to the conditions inside Iran, while "Great Crisis" addresses current events in the Middle East. He adds that the current crisis in the Middle East seems poised to change the old structure of the region after decades, an event that Iranians have been waiting for years. According to Yaghmaei, this change necessitates the fall of the Islamic Republic, and if such a thing occurs, we will certainly witness the emergence of a free and different Middle East compared to past decades. Yaghmaei notes that "Fresh Air" is connected to the situation inside Iran, stating that all Iranians are waiting for the moment of freedom that the great nation of Iran deserves. He adds, "This song was written by the late Nematollah Madah, one of the first poets imprisoned under Khomeini's regime. I obtained this poem in Iran from Mr. Madah, but it was not possible to perform it inside the country. However, after years, I produced this work outside of Iran, and it was finally released." Yaghmaei mentions that the song "Great Crisis" was written by Meysam Yousefi and specifically addresses the current events in the Middle East and a significant change in the region that is likely to happen soon. According to this artist, Iranians have sensed this change well and must be prepared not to be caught off guard, as any superficial change in the structure of the Islamic Republic is not acceptable in any form. He specifically refers to the old reformists who have re-entered the political scene with the aim of preserving the Islamic Republic and changing its form. Yaghmaei, identifying himself as a monarchist, urges opposition groups to put aside all differences and think of the people, focusing on overthrowing the Islamic Republic and filling the void that may arise from the potential fall of the regime. He states that there are different political views among Iranian artists, and they do not share the same opinions as other sectors of society. He continues that despite all differences, artists must engage in discussion and collaborate to achieve a free and prosperous Iran, which is very important. Yaghmaei emphasizes that Iranian artists currently play a significant role in society and can be very influential in the overthrow of the Islamic Republic. He states, "In general, the artist's job is to convey meaning, message, or beauty to society, and there is no need for further explanation in this regard, but an artist anywhere in the world must decide at some point whether they are with the government or the people, whether they want to align with the ruling power or reflect the demands of the people like a mirror." Yaghmaei says that every artist faces such a moment in their life and must decide whether they want to be a demanding artist with the people or align with the government. He notes that this choice is more difficult in countries like Iran with a dictatorial regime, and some artists pay a heavy price for opposing the Islamic Republic. Yaghmaei emphasizes that these artists engage directly with the government to support the people, fully aware of the consequences of their decisions and the problems that follow, and this is very valuable. Regarding the concert of Parastoo Ahmadi and the surrounding controversies, he states that this young singer and her companions performed this hypothetical concert in a caravanserai, fully aware of the problems they would face, which was certainly not an easy task. He adds that he is familiar with some critics who believe that Parastoo Ahmadi is affiliated with a specific group or even the government. Yaghmaei states, "If an artist in Iran explicitly supports the government or promotes the regime, they should be criticized, but if an artist addresses social issues such as executions, torture, abuse or rape of children, and the right of women to sing in any form, they should be supported." This artist, who himself had underground concerts in Iran and secretly performed banned works for his fans, describes Parastoo Ahmadi's concert and her companions as "amazing." Yaghmaei believes that Parastoo Ahmadi should be supported in any case, as he states that she has taken a courageous and valuable action that has had a wide impact on society. He continues that currently, some Iranians are skeptical about everything and divide others into insiders and outsiders, which is not a correct mindset. Yaghmaei says, "The future of Iran is not supposed to be this way, and people with all thoughts and ideas should live together with complete freedom, and this is a dream I have, and I am sure it will be realized after the collapse of the Islamic Republic." Kaveh Yaghmaei, who has recently started a major world tour, will perform his new songs and nostalgic works at his concert in London in January and will continue these programs in the United States next year.