“Kazakhstan – Armenia – Hungary – China – Malaysia – Turkiye – Czech Republic – Germany – USA – Mexico – Spain – United Kingdom – Latvia” — the journey of Dimash Qudaibergen’s Stranger began in Almaty in 2022 and, crossing countries and continents, concluded in Riga in 2025.

The word Stranger has several meanings in English, and each of them feels appropriate when speaking about a show that travelled across three continents and captivated audiences in 13 countries.

The interpretation Wanderer is perhaps the most accurate, drawn directly from the lyrics of the song that gave the tour its name:

“New land as far as I can see.
New ground beneath my feet.
A wanderer in a foreign land —
A new chance to find out who I am…”

At the same time, many international media outlets interpreted the title as Stranger, as during this tour Dimash visited several countries for the very first time.

Combining these meanings — and recalling Dimash’s own words — it becomes clear that the purpose of these journeys across vast seas and oceans is to introduce as many people as possible to the culture of his homeland.

Traditionally opening his tours in Kazakhstan, the artist consistently pursues this mission through music. He creates around himself a unique symbiosis of people who feel music deeply, strive for unity and peace, and seek to see and hear manifestations of true love — sincere, without excessive sentimentality:

“Waves of love moved from the stage and back again. Dimash wasn’t swept away by this tsunami, perhaps only because throughout almost the entire concert someone was holding his hand. And he held on. And everyone truly needed that.”

Dimash’s parents, Kanat and Svetlana Aitbaev, shared insights into how the tour program is created. According to them, the core concept of the show is defined by Dimash himself. He structures the program based on his directorial vision and the musical works selected for the concert. After that, the directing team joins the process to refine ideas and shape the final production.

For the preparation of the first concert of the tour alone, more than 200 people from creative, technical, and organizational teams were involved. Over 100 specialists worked on installing technical equipment in Almaty and Astana. Including costume designers, volunteers, and professionals from other fields, each concert ultimately brings together up to 400 participants.

The organization of international shows begins 7–9 months before the concert date. This process requires taking into account local legislation and cultural specifics. Touring teams travel from Kazakhstan, Spain, Russia, Cuba, Germany, and China. These include musicians, concert managers, and technical staff — experienced professionals in their respective fields. In each host country, local promoters and venue teams join them, forming a combined crew of approximately 200 people.

One comment left after a concert read:
“It’s hard to understand how Dimash does it, but every new concert feels like a new life.”
And indeed, if you mention any moment from the show, Dears can immediately tell you exactly where it happened.

“Know,” with a baby in his arms — Antalya.
“Ave Maria,” performed by 11-year-old Gabriella — warm memories from Düsseldorf.
Dimash’s first aerial acrobatics — Love of Tired Swans in Astana.

Over these three years, many distinguished guests appeared at Dimash’s concerts. Honorary guests from host countries included Haluk Levent, Siti Nurhaliza, and Burak Yeter. Together with Nathan Wang, Dimash premiered Happy, the soundtrack from Jackie Chan’s film Vanguard. With Renat Gaisin, he immersed audiences in poignant memories through the song Qairan Elim. At Madison Square Garden, Walter Afanasieff accompanied Dimash during Love’s Not Over Yet.

Many concerts also gave audiences the opportunity to witness premieres of Dimash’s original songs:
The Story of One Sky and El Amor En Ti in Almaty;
When I’ve Got You and Smoke in Hong Kong;
Fire in Astana;
Samgau and Living For The Game in New York.

In some cities, the artist delighted local audiences by performing songs in the language of the host country — Sareri Hovin Mernem in Yerevan, Gesi Bağlari in Istanbul, and Bésame Mucho in Barcelona and Mexico City.

Fans who followed the artist from city to city shared stories of how Dimash’s name helped them while traveling abroad: taxi drivers, upon hearing his name, would gladly talk about their city, while hotel owners offered help in difficult moments.

One particularly touching story included words a young woman said to her mother after the name of the Kazakh artist helped them avoid being left without a hotel room in Prague:

“He’s amazing, your Dimash,” the daughter admitted. “He opens all doors.”
“He opens people,” I replied. “And that’s much harder.”

Such a strong bond between the artist and his fans — woven from lives and shared experiences — could not exist without Dimash himself. When asked, “How dependent are you on your fans?”, he answered:

“To put it simply — as much as possible. I understand that for any artist, including myself, the profession has no meaning without the audience. I continue to work in my own direction, in neoclassical music, while also singing in different styles and genres. I don’t focus too much on how mass audiences will perceive what we do musically, because my music is somewhat specific. And once again, I thank all viewers for supporting me in everything. Praise be to the Almighty for showing me the path to meeting you all.”

— Dimash Qudaibergen

Throughout 2025, Dimash performed in China, Kyrgyzstan, and Vietnam, met with compatriots in Almaty and Aqtau, and for the first time stepped onto the African continent with a performance in Egypt. This means the road ahead remains open — and many exciting events still await.

Dear friends, thank you for accompanying the Artist on his journey — like the wind beneath his wings — helping him soar to distant continents while sharing the culture of our homeland with the world.

We wish you all a Merry Christmas and a Happy New Year!
New meetings and new cities lie ahead.