Indra Aziz
Open’er Festival, held annually on a sprawling military airfield near Gdańsk, has firmly cemented its position as Poland’s premier musical event. With a lineup that rivals international giants like Primavera Sound, the festival presents a formidable array of global artists. Despite its impressive roster, Open’er predominantly attracts a domestic audience, with the majority of attendees hailing from across Poland, a testament to its deep roots within the national cultural landscape. The event’s commercial presence is notable, featuring numerous brand-sponsored stages, including dedicated spaces for popular toy brands like Barbie, UNO, and Hot Wheels, offering festival-goers interactive entertainment alongside the musical performances.
From July 1st to July 4th, 2026, the Gdynia airfield transformed into a vibrant hub for music enthusiasts, showcasing an eclectic mix of rock legends, pop icons, renowned DJs, and emerging national and international talent. This year’s edition continued the festival’s tradition of delivering a diverse and high-caliber musical experience, attracting significant attention within Poland and offering a compelling case for greater international recognition.
Day 1: Political Statements and Nostalgic Reunions
The opening day of Open’er 2026 set a powerful tone, blending sharp political commentary with crowd-pleasing performances. The Tent Stage saw an early evening surge for KNEECAP, who, fresh from a major headline show in London, delivered a politically charged set. Notably absent was any mention of UK politicians, a deliberate choice acknowledging the limited resonance of such figures in Poland. Instead, the Irish trio focused their ire on Hungarian Prime Minister Viktor Orbán, leading chants of "Fuck Viktor Orbán!"—a pointed reference to his government’s ban on the group performing in Hungary the previous year. Their set concluded with fan favorites "H.O.O.D" and "The Recap," leaving an indelible anti-fascist sentiment that carried over to the Alter Stage.
There, Swedish punk band Viagra Boys captivated the audience with their signature blend of hypnotic euphoria. In one of the day’s most memorable performances, the band made a strong visual statement, adorning their instruments with profane signs denouncing the Israeli Defense Force and Josef Tiso, the Nazi-allied former president of the Slovak Republic whose army participated in the 1939 invasion of Poland. This overt political stance underscored the festival’s capacity to host artists willing to engage with contemporary global issues.
The Main Stage’s opening night was a celebration of late-2000s nostalgia, with The xx and Florence + The Machine sharing a headline slot. This performance marked a significant moment for The xx, who were returning to the festival circuit after nearly a decade-long hiatus. Their appearance alongside Florence Welch, whom they had previously supported on her first headline tour, created a poignant full-circle narrative for both artists. Both acts acknowledged this shared history during their sets, fostering a sense of shared experience and artistic evolution.
Concluding the evening, the legendary David Byrne, frontman of Talking Heads, delivered a performance characterized by its unique blend of fun and creativity. Accompanied by his mobile band, Byrne reinforced the night’s theme of anti-extremism through short speeches between songs, often emphasizing the power of "love and kindness as a form of resistance." His presence added an intellectual and artistic depth to the festival’s opening day, resonating with an audience appreciative of his enduring influence and advocacy for positive social messages.
Day 2: Intimate Performances and Classical Grandeur
Day two of Open’er 2026 offered a more varied musical landscape, from introspective solo acts to grand orchestral performances. The Alter Stage featured Don West, whose performance, while musically pleasant, was heavily centered on his charismatic stage presence. Described with a playful nod to the "Shrek 2" character Prince Charming, West’s appeal lay in his undeniable aesthetic, though the set was noted for its sensuality and lack of overt humor, despite the evident talent of his brass section. The audience, particularly the female contingent, responded enthusiastically, creating a vibrant atmosphere.
Meanwhile, at the Flow Stage, Frankie Beanie, under the moniker supermodel*, introduced his new project to the Polish audience. His set was an angsty, stripped-back affair, skillfully balancing minimalism with dynamic energy. A standout moment was his performance of "I Used to Live in England," a track humorously detailing his three-year experience in Merseyside, which was followed by a powerful rendition of The Streets’ "Has It Come to This?"
As evening descended and a light rain began to fall, the Main Stage hosted a truly remarkable event. Concert pianist Yehuda Prokopowicz, accompanied by the Sinfonia Varsovia orchestra, presented Chopin’s "Piano Concerto No. 1 in E minor." This bold and refreshing showcase of Polish classical music, centered on the nation’s most celebrated composer, captivated a hushed audience. The choice to highlight national artistic heritage resonated deeply, though some attendees expressed a wish for a fitting encore performance of Chopin’s "Raindrop Prelude."
Beyond the musical performances, Open’er 2026 also demonstrated a strong commitment to social causes. Numerous stalls were dedicated to supporting various charities, providing attendees with opportunities to engage with and contribute to important initiatives. The "Music Saves Ukraine" campaign, aimed at rebuilding cultural infrastructure and supporting young talent in war-torn regions, was prominently featured. Additionally, FEDERA, an organization advocating for reproductive rights in Poland, a country with some of Europe’s most restrictive abortion laws, also had a significant presence. These initiatives highlighted the festival’s role as a platform for awareness and social change.
The festival also embraced a broader cultural scope with fringe tents hosting film screenings, stand-up comedy, and discussion panels. The "Gender Bender" drag show, in particular, was celebrated for its joyfulness and cultural significance, especially considering Poland’s complex history with LGBTQ+ rights and the ongoing legal status of same-sex marriage.
The Main Stage later witnessed one of the festival’s most emotionally resonant performances from Nick Cave & The Bad Seeds. Cave visibly moved the audience, pouring his heart into lyrics exploring themes of grief, pain, joy, love, and existence. The angelic backing vocals elevated each song, creating a profoundly moving experience. During "White Elephant," Cave was visibly tearful, looking out across the airfield. The set concluded with a collective sing-along of "Into My Arms," leaving the crowd in a state of profound reflection.
The evening culminated with a high-energy set from Calvin Harris on the Main Stage. As the rain intensified, Harris delivered a barrage of his most popular hits, including "Summer" and "Sweet Nothing." The electrifying performance evoked memories of his peak popularity, with tracks featuring Florence Welch prompting particular enthusiasm. The rendition of "We Found Love" sent the crowd into a frenzy, sparking widespread speculation about a potential Rihanna comeback.
Day 3: Shoegaze Resilience, Gothic Icons, and Techno Power
Day three brought stronger winds and more frequent showers, impacting some scheduled performances. Shoegaze pioneers Slowdive were forced to play a shortened, blustery set due to adverse weather conditions pushing back their golden-hour slot. Despite the challenges, they delivered a resilient performance.
The Cure then drew the largest crowd of the entire festival, continuing their world tour with a captivating two-and-a-quarter-hour set. The band’s enduring sound, nearly five decades into their career, was remarkable, with Robert Smith’s voice retaining its signature vulnerability. Despite releasing new material, the set focused on beloved hits and deeper cuts, underscoring their commitment to their extensive back catalog.
On the Tent Stage, Ethel Cain delivered a bold and melancholic performance, framed by a floral display reminiscent of Nirvana’s iconic MTV Unplugged set. The predominantly female audience responded with an unprecedented level of engagement, singing along loudly throughout the performance, a stark contrast to the more reserved reactions observed earlier in the festival.
The festival also featured an inspiring performance from Japanese techno icon DJ YUKIMATSU. Ten years after being diagnosed with a malignant brain tumor, which led him to pursue DJing full-time, he delivered a powerful set to a packed tent, demonstrating immense resilience and artistic dedication 13,000 miles from home.
Day 4: Pop Powerhouses and K-Pop History
The final day of Open’er 2026 was dominated by female artists, showcasing the evolving landscape of popular music. TikTok star Addison Rae opened the Main Stage with a performance that highlighted her strengths in dancing and choreography, complete with a pink-infused stage design and "Britney-isms." However, her vocal performance was noted as a significant challenge for audience enjoyment.
In contrast, former Little Mix star JADE delivered one of the festival’s most joyous and empowering sets on the Tent Stage. Her performance was a vibrant celebration of her solo career, featuring hits from her 2025 album "THAT’S SHOWBIZ BABY!" and a medley of reworked Little Mix classics. The energetic set, described as a "party from start to finish," left audiences wanting more, despite the limited time allocated.
JENNIE of BLACKPINK made history as the first K-pop artist to headline a Polish festival. Her performance on the Main Stage rivaled The Cure in crowd size and volume, a testament to her global superstardom. Her captivating stage presence and effortless swagger suggest a potential shift in European festival booking strategies, with K-pop acts poised for larger roles.
PinkPantheress continued to demonstrate her rising star power on the Tent Stage, confirming her ability to draw massive crowds. Her performances are now demanding Main Stage bookings, with the sheer volume of attendees eager to witness her energetic sets. The introduction to "Just For Me" elicited a particularly fervent reaction, showcasing the genuine "mania" surrounding the artist.
The festival concluded with a Main Stage performance from South Korean DJ Peggy Gou. A seasoned global performer, Gou delivered a set that had attendees dancing enthusiastically across the airfield, providing a fitting finale to the weekend.
Open’er’s Unique Appeal: A Polish Gem with Global Potential
The overwhelming majority of Open’er attendees were Polish, with international chatter being minimal. Many Polish attendees expressed surprise at the presence of a journalist from the UK. The festival’s appeal, however, extends beyond its domestic draw. The author’s own experience highlighted the event’s exceptionally strong lineup, its picturesque setting, and the affordability of amenities, such as a pint for under £4. These factors present a compelling argument for greater international engagement.
The strategic location of Open’er in Gdynia, with its excellent connectivity to Gdańsk and Sopot via frequent train services, enhances its accessibility. This allows festival-goers to explore the historic Tri-City area during the day before returning to the airfield for the evening’s musical offerings. This combination of world-class music, cultural exploration, and relative affordability positions Open’er as a festival with significant untapped potential for international tourism, offering a rich and rewarding experience that transcends its current audience demographic.
Words: Fin Harrison
Photography: Supplied
