Marko Perkovic's Controversial Concert Sparks Outcry Over Pro-Nazi Salute

In a highly contentious display of nationalism, Marko Perkovic, a prominent right-wing Croatian singer, led a crowd of hundreds of thousands in performing a pro-Nazi salute during a concert in Zagreb on July 6, 2025. The salute, reminiscent of the infamous phrase "For the homeland — Ready!" associated with Croatia's World War II Ustasha regime, has reignited debates about historical memory and national identity in Croatia.

Perkovic, whose stage name 'Thompson' is derived from the American-made Thompson submachine gun, has a history of controversial performances. He has claimed that his music is a reflection of the tumultuous period during Croatia's 1991-95 war of independence from Yugoslavia. According to Perkovic, the song played at the concert serves as "a witness of an era" that shaped modern Croatian nationalism.

The concert, which organizers claimed attracted over half a million attendees, was marked by displays of Nazi salutes, a practice that is legally punishable in Croatia. However, Croatian courts have permitted Perkovic to incorporate the salute into his performances, creating a complex legal and ethical situation regarding freedom of expression and hate speech. This has drawn the ire of many, including Serbian officials who view such displays as support for pro-Nazi ideologies.

Dr. Ivan Markovic, a historian at the University of Zagreb, remarked, "The normalization of Ustasha symbolism in contemporary Croatian society reveals a troubling trend. We must critically examine how historical narratives are constructed and represented in our public spaces." Dr. Markovic's observations align with those of the European Commission, which has expressed concern over the resurgence of extremist ideologies in member states.

Critics of Perkovic's concert, including former Serbian President Boris Tadic, labeled it a "great shame for Croatia and the European Union," emphasizing that glorifying the Ustasha regime—the perpetrators of mass atrocities against Serbs, Jews, and Roma during World War II—poses a threat to democratic values and human rights. The concert's organizers defended the event as a cultural celebration of national pride, but the implications of such a celebration have raised significant alarm.

The historical context of the Ustasha regime, which operated concentration camps and was responsible for the deaths of tens of thousands, adds weight to the ongoing discourse surrounding nationalism and identity in Croatia. As noted by Dr. Ana Petrovic, a sociologist at the University of Split, "This concert is not just a musical event; it is a reflection of deep-seated national sentiments that are often intertwined with troubling historical narratives."

In the aftermath of the concert, Croatian police prepared for potential unrest but reported no major incidents, highlighting a precarious balance between public order and the expression of controversial nationalist sentiments. The implications of Perkovic's performance extend beyond national borders, challenging the European Union's commitment to combating hate speech and fostering inclusive societies.

As Croatia continues to grapple with its complex history, the events surrounding Perkovic's concert underscore the need for a critical reassessment of how such historical legacies are acknowledged and addressed in contemporary discourse. With rising nationalism and a fragmented political landscape, the future of Croatian identity remains at a crossroads, with significant implications for its society and its place within the European Union.