Steampunk composer and pianist Olga S Popova dropped the first installment of her much-anticipated musical, “Wayne’s Gun Part 1: 1924,” just last week on March 14, 2025. I’ve had the chance to listen through the seven-track album several times now – it clocks in at a tight 21 minutes and serves as our first real introduction to her genre-bending theatrical production that mashes up steampunk aesthetics, sci-fi elements, and historical drama in a surprisingly cohesive way.
What really stands out about this project is its truly global reach – Popova somehow managed to wrangle over 150 artists from more than 10 different countries to contribute to this musical tapestry. It’s a testament to her networking skills and collaborative vision. The album’s been out less than a week, but it’s already racked up thousands of streams across the major platforms, with listeners tuning in from coffee shops in Brooklyn to living rooms in Berlin.
You can hear the professional polish on every track, thanks in part to some heavy-hitting industry veterans who lent their expertise. Five-time Billboard nominee Luis Canción (who’s worked with everyone from Snoop Dogg to Lecrae and Andy Mineo) and Romano Eraffici from Universal Music Poland both had their hands in shaping the sound. Their touch is evident in how the album manages to feel accessible without sacrificing any of its quirky, genre-defying personality.
This isn’t actually Popova’s first rodeo with “Wayne’s Gun” – the musical initially wowed a packed house in Moscow back in December 2021 (December 18th, to be exact), before crossing the pond for its U.S. debut on April 27, 2022, at the intimate Jackson Browne Stage in Boston. The project’s gathered some impressive endorsements along the way – Elvira Takha (you might know her choreography work from “Cats” and “Mamma Mia!”) is a fan, as is Broadway heavyweight Eric Stern, whose directing credits include “Shrek” and “Follies.” Even Ada Samuelsson from the United Nations has given it her stamp of approval, which speaks to the production’s cross-cultural appeal.
If you’re wondering what on earth this musical is actually about – well, it’s delightfully bonkers in the best way possible. The story centers on two scientists, Mona Delancour and Simon Silicia III, whose experiments with a time-traveling zeppelin (yes, really) end up shattering reality itself. As they desperately try to stitch the past back together, they find their own identities warping into something barely recognizable. This first album gives us just a taste of their adventure, setting up what promises to be a wild ride through time and space.
The ambition on display shouldn’t come as a surprise to anyone familiar with Popova’s background. She’s not exactly a musical novice – she graduated from the prestigious Berklee College of Music with a double major in Film Scoring and Performance, plus a minor in Creative Entrepreneurship (because apparently sleep wasn’t on her curriculum). Before “Wayne’s Gun” became her baby, she founded and managed the “Excelsior Orchestra” back in Russia, cutting her teeth on the logistics of wrangling musicians into harmonious collaboration.
When she’s not crafting time-travel musicals, Popova moonlights as a seriously accomplished classical pianist. She’s tickled the ivories at concert halls around the world and even snagged Golden Classical Music Awards at Carnegie Hall (no big deal). Her composition resume reads like a creative polymath’s bucket list – she’s penned music for Disney’s “Dr. Jane Goodall” documentary, contributed to the animated series “Ginji,” and worked on countless other projects that defy easy categorization.
When I asked about her musical style, Popova thought for a moment before answering. “It’s really all about time travel for me,” she said with a laugh. “I’m blending sounds from different eras and just seeing what happens when they collide. One minute you might hear something that feels Victorian, then suddenly there’s this synth layer that pulls you into the future.” She gestured excitedly as she spoke, clearly passionate about her experiments. “I’ve always been fascinated by those boundaries between classical composition, film scoring, and modern electronic music. Why choose just one?”
After spending time with “Wayne’s Gun Part 1,” I’d say she’s nailed that approach. The album somehow manages to feel both nostalgic and futuristic at once, like finding an old gramophone that plays music from 2050. It shouldn’t work, but it absolutely does.
For those already hooked on this first installment, there’s good news on the horizon – Popova is deep in the trenches working on Parts 2 and 3 of the musical. She’s also gearing up for some ambitious live performances, including orchestra shows conducted by Jordan Conover that promise to bring these compositions to three-dimensional life. In a particularly intriguing crossover, she’s teamed up with dancers from the Boston Conservatory to create a series of videos that visualize her musical storytelling – I’ve seen snippets, and they’re sure to impress.
The scope of “Wayne’s Gun” seems to be expanding faster than a time-travel paradox. Beyond the planned album trilogy, there’s talk of a proper theatrical world tour and even whispers about adapting the whole shebang for film. Popova isn’t precious about keeping creative control, either – she’s actively seeking collaborations with producers, theater companies, and multimedia artists who might want to help shape the project’s future. It’s refreshing to see an artist so open to letting their creation evolve through outside influences.
For those curious to dive into this steampunk time-travel adventure, “Wayne’s Gun Part 1: 1924” is streaming now on all the usual suspects – you can find it on Spotify and Apple Music, among others.
When pressed about her creative philosophy, Popova offered some wisdom that feels especially relevant in our instant-gratification culture: “Music, like life, doesn’t always unfold on our timeline,” she told me confidently. “Sometimes, the ideas take longer to materialize, and the pieces don’t always come together as quickly as you’d like. But every step, every delay, and every challenge is part of the journey.” In an era where algorithms push for constant content, there’s something refreshingly human about an artist advocating for the slow-cooked approach to creativity.
To keep up with all things Olga S Popova, you can follow her on Instagram, Facebook, Spotify, and Apple Music. For the most comprehensive information about her projects and upcoming performances, her official website remains the best resource for dedicated fans and newcomers alike.
