Musical innovation demands more than technical mastery – it requires the courage to imagine worlds that don’t yet exist. Composer Olga S Popova embodies this truth with remarkable clarity in her latest work, pushing past the comfortable boundaries of traditional theater into uncharted creative territory. Her latest release, “Wayne’s Gun Part 1: 1924”, which dropped on March 14, 2025, defies easy categorization – and that’s precisely what makes it fascinating.
The seven-track album, clocking in at a tight 21 minutes, serves as the opening act of what promises to be an ambitious musical journey. Yet despite its relatively modest runtime, the project’s scope is anything but small. Drawing together more than 150 artists from across ten countries, Popova has created something that feels less like a traditional musical album and more like a portal through time.
Behind the scenes, the project boasts an impressive lineup of industry veterans. Five-time Billboard nominee Luis Canción, whose credits include collaborations with Snoop Dogg and Lecrae, brings his production expertise to the table. Meanwhile, Universal Music Poland’s Romano Eraffici lends additional polish to the album’s distinctive sound. The result is a professional sheen that makes the project’s experimental elements more accessible without dulling their edge.
The narrative follows scientists Mona Delancour and Simon Silicia III, whose time-traveling zeppelin adventure goes spectacularly wrong, fracturing reality itself. While the premise might sound fantastical, Popova’s masterful composition grounds the story in emotional reality, even as it soars through its steampunk-infused soundscape.
“Wayne’s Gun” has already proven its appeal beyond the recording studio. After a sold-out Moscow premiere in December 2021, the show found its way to American audiences at Boston’s Jackson Browne Stage the following spring. Industry heavyweights have taken notice – among them Elvira Takha, the choreographer behind “Cats” and “Mamma Mia!”, and Broadway director Eric Stern, known for productions like “Shrek” and “Follies.”
What sets this project apart isn’t just its ambitious storytelling but the depth of experience Popova brings to it. A Berklee College of Music graduate with a double major in Film Scoring and Performance, she’s no stranger to pushing creative boundaries. Her journey from prodigy at Moscow’s Central Music School of the Tchaikovsky Conservatory to Carnegie Hall performer and Disney documentary composer (“Dr. Jane Goodall”) reflects the kind of genre-crossing versatility that “Wayne’s Gun” demands.
For those wondering what’s next, Popova isn’t keeping fans in suspense. Parts 2 and 3 are already in development, promising to push the envelope even further. A theatrical world tour is in the works, and whispers of a potential film adaptation are circulating in industry circles. The project continues to welcome collaborations with producers, theater companies, and multimedia creatives interested in contributing to its development.
Currently available on Spotify and Apple Music, the album has quickly found its audience, racking up thousands of streams across both sides of the Atlantic. But streaming numbers only tell part of the story. Popova has also announced upcoming live performances with an orchestra under Jordan Conover’s direction, and a series of dance collaborations with the Boston Conservatory promises to add new visual dimensions to the music.
For Olga S Popova, who started her musical journey as a young pianist in Moscow and went on to found the Excelsior Orchestra in Russia, this release represents more than just another entry in an already impressive catalog. It’s a bold statement about the possibilities that emerge when traditional musical theater collides with contemporary innovation — and a reminder that sometimes the most exciting journeys are the ones that don’t follow any existing map.
