2025 came to a close not as a year of noise but as a year of refinement in the music world. In an era where anyone could release a song and anything could become “trendy” for a few hours, listeners took a clearer stance than ever before: those without a story were eliminated, and those without real presence onstage were left behind. Algorithms continued to function, but they no longer carried anyone on their own; artificial intelligence accelerated production, yet failed to replace emotion, sincerity and identity. By the end of the year, what people talked about were not the most numerous releases, but the few works with lasting impact. It was not those who produced the most, but those who produced correctly, who were remembered.
In Türkiye, the rap scene was one of the main areas to pass through this harsh filter. BLOK3 completed 2025 not only with strong streaming numbers but with clear dominance, frequently mentioned on global platforms and proving decisively that he could carry large crowds onstage. Motive, on the other hand, chose control over speed; through single-release strategies, concert recordings, and a consistent visual language, he demonstrated a carefully planned rise. The message of the year for rap was clear: not the loudest voices, but those who mastered timing, won.
Pop music pulled back in 2025, but it did not weaken. Instead, it moved toward a more minimal, emotional and selective direction. Semicenk showed that pop could still form a powerful emotional connection through dramatic storytelling and expressive language, while Sefo maintained his connection with broad audiences by preserving the balance between pop and rap. In this field, character – not hit formulas – came to the forefront; listeners searched for authenticity rather than shine.
The most ruthless yet most honest arena of 2025 was the stage. Artists who achieved high digital numbers but failed to deliver live performances were filtered out, while those who spoke less and performed powerfully succeeded. Ticket sales became a more reliable metric than social media engagement. Artificial intelligence was discussed throughout the year; in the right hands, it provided speed and flexibility, while incorrect use made works feel ordinary. Ultimately, the music world closed the year with a clear truth: everyone can make a song, everyone can be visible, but only those with something meaningful to say leave a mark.
After discussing many concerts throughout the year in Türkiye, attention turned to Azerbaijan, our brother country. I spoke with two successful names from the concert-organizing scene, who shared that throughout 2025, they brought dozens of artists – each signing unique concerts – together with Azerbaijani music lovers, achieving significant success in culture and the arts. Approximately 100,000 music fans came together on the same stages during events held throughout the year.
Event Office, operating under the partnership of Togay Tekşen and Zafer Balkaya, quickly became a strong international brand through organizations held in Türkiye, many European countries and Azerbaijan. Especially notable for its concert organizations in Azerbaijan, the company earned the appreciation of music lovers with its high-quality production approach and distinguished artist portfolio.
Stating that they have very ambitious plans for 2026, Togay Tekşen expressed their goal of hosting many important artists from both Türkiye and Europe in Baku. In his statement, he said:
“Azerbaijan is not just an event location for us; beyond being a brother country, it is one of the most valuable and most closely followed centers of music and art in the world. Azerbaijani music lovers know very well what quality music is. We will continue to bring this conscious and selective audience together with the highest-quality artists at all times.”
With concerts and events planned for 2026 in Baku and other cities, the company aims to contribute to Azerbaijan’s cultural and artistic life and to offer unforgettable moments to music lovers. With its international vision and strong organizational infrastructure, the firm is preparing to make its name frequently heard in the new year as well.
The piano is often the first instrument chosen by those beginning music education. The reason is clearly expressed as follows: “The piano is an instrument on which we can perform multiple voices at the same time. In the lower tones, there is the voice of a family elder or a teacher. Concise, precise and timely. The melodic sequences in the higher tones played with the right hand captivate young people. Performing polyphony simultaneously strengthens the sense of sharing and emotion, reflecting a feeling rooted in this land.”
With this perspective, it becomes clear that the piano is not merely an instrument, but also a path where discipline and principles are taught. Piano education guides children’s artistic journeys from their very first finger movements. I encountered these reflections during a pleasant conversation with Başak Ertaş, who has over 20 years of experience in the ballet world. Ertaş graduated first in her class in 2005 from the Modern Dance and Ballet Majors, Istanbul State Conservatory, Mimar Sinan Fine Arts University and received training in major art centers such as Vienna, Paris and London. As an educator, she has provided ballet training to children, young people and adults, while also guiding students through conservatory entrance exam preparation processes.
Recognizing the need for costumes in the dance world, Ertaş founded "Ada Kostüm" 14 years ago and began designing custom costumes for prestigious institutions such as the Paris Opera Ballet School. By working with world-renowned organizations like the Paris Opera Ballet School and Accademia Teatro alla Scala, she earned great respect in the ballet world through her unique designs. Witnessing this journey – beginning with piano and ballet education at a young age and culminating in remarkable achievements – brought me great happiness.
