This paper discusses the perspectives of the post-subcultural term “scene” as a conceptual framework in the study of contemporary youth cultures. In current academic literature, the conceptualization of the concept of “scene” is represented by a range of competing interpretations: the scene as a place, the scene as a space (real or virtual), and the scene as a field of cultural production. The key points of discussion are identified by researchers with the following dimensions: its theatricality, its regularity, authenticity, legitimacy, and a DIY-economy. From our point of view, the “scene” has a number of heuristics advantages which are missing in “subcultural” and post-subcultural concepts. Firstly, it is the connection of group cultural practices and specific places/spaces that allows for the comparison of the configuration of youth communities and cultural coalitions in different geographical locations (cities, countries, or regions). Secondly, the focus here shifts from the analysis of cultural texts and discourses to the implicit rules and meanings according to which individuals produce a “scene” in a particular place/space and time. The concept of “scene” can be used productively in the solidarity approach. This theoretical and methodological composition allows us to analyze the reaction of local youth communities to discursive pressure, the forms of value conflicts typical to modern Russia, and the universal and specific features of local youth group identities.