The Ballad of the Fixed Fight

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I remember the first time I witnessed a fixed fight.

It was October 2015, and I was in Sochi, Russia, working as a colour commentator for M-1 Global, Russia’s oldest (and now defunct) mixed martial arts organization.

While there were rumours going around that Russia’s president Vladimir Putin might show up at the event—he was in Sochi celebrating his 63rd birthday by playing hockey with his favourite oligarchs—he never did. Instead, the guest of honour was Yunus-bek Yevkurov, the head of the southern Russian republic of Ingushetia, who was in attendance to watch one of his republic’s most popular fighters: Adam Yandiev.

Yandiev was no ordinary man. Built like an action figure brought to life, his muscles resembled tree trunks, bulging as he crushed opponents in punishing submission holds. But his dominance went beyond brute strength; Yandiev had cultivated a flair for the dramatic, entering arenas with a pro wrestler’s swagger, complete with a custom song, a music video, and a lengthy walk to the ring.

On this particular night, Yandiev was scheduled to face Dmitry Voitov, a Belarusian fighter boasting a 12-4 record. Few expected the undefeated Yandiev to struggle. Not a single one of his fights had ever gone past the first round. As it turned out, this fight would be no different.

I remember calling the action alongside UFC pioneer Ian Freeman. Yandiev exploded forward, throwing a relentless flurry of punches that had become a trademark of his arsenal. Voitov answered, trading blows in a chaotic, almost choreographed exchange. Then Yandiev dragged him to the mat, locking in a north-south choke. Voitov weathered the storm, biding his time, and slowly worked his way onto Yandiev’s back. Adam twisted and flipped onto his own back, somehow allowing Voitov to settle into mount.

It all started to feel staged. Yandiev regained top control briefly, only to end