TEHRAN -- When news broke that Homayoun Shajarian—a towering figure in Iranian music—would perform a free street concert at Tehran’s Azadi Square, excitement rippled through the cultural scene. 
It promised a rare moment of public musical joy, accessible to all, and a bold breath of life amid tense times. But just days later, the event was abruptly canceled, with Shajarian citing “inability to manage the expected millions of attendees.” 
What followed was a cascade of questions, finger-pointing, and a glimpse into the bureaucratic chaos behind the scenes.
The concert had been announced officially on a holiday, sparking a wave of reactions. Supporters hailed it as a needed injection of vitality and inclusivity—a chance for fans who might never afford a ticket to experience one of Iran’s most beloved voices live. 
Critics, meanwhile, raised logistical red flags. Could a massive crowd be safely controlled? Was the city infrastructure ready for such a spectacle? Shajarian’s own statement suggested these concerns were not just idle worries but real obstacles—“these discussions should have happened two months ago,” he lamented.
Yet the question of who dropped the ball remains murky. Tehran’s Cultural and Social Deputy, Muhammad Amin Tavakolizadeh, blamed a lack of planning by the Ministry of Culture and the concert’s main overseer. 
He revealed that critical security and logistics decisions had barely been made even days before the event, with local authorities left in the dark. Meanwhile, social media buzzed with videos hinting at sabotage—footage of welders blocking roads near Azadi Square implied a covert effort to hamper the concert’s setup. Shajarian himself claimed that his team was denied access to the venue equipment, fueling suspicions of interference.
The city’s mayor, meanwhile, publicly pledged support and floated moving the concert to Azadi Stadium, but this proposal came only after the cancellation, raising questions about why relocation wasn’t considered sooner to avoid public disappointment. Moreover, the fact that a pro-municipal newspaper had earlier celebrated the concert’s announcement adds to the confusion—is the city truly opposed, or was it a case of miscommunication?
Political pressures may also have played a silent role. Some speculate that both internal and external forces uneasy with Shajarian’s prominence and independent voice contributed to the mounting obstacles. Despite these tensions, fans who had hoped the concert would inject some joy and unity into a fractious moment are left disappointed, and the cultural community mourns a missed chance to gather, sing, and breathe life into public space.