Orange Warsaw

Orange Warsaw Festival: an urban music festival that kicks off summer in Warsaw

Orange Warsaw is one of Poland’s most recognizable open-air festivals and, as its name suggests, it’s strongly tied to the musical identity of the capital. The two-day format, a broad range of genres, and an emphasis on major international names have made it a place where people don’t come just to “hear” a concert, but to experience the whole city in a festival rhythm. In practice, Orange Warsaw works as a kind of introduction to the season of European summer events: the first big outdoor weekends, the first serious crowds in front of the stages, and that specific feeling of early summer when the days grow longer and the evenings become reserved for music. Over the years, the festival has changed locations and formats, but its common denominator has remained the same: bringing to Warsaw performers who carry the current mainstream, indie and alternative pop, electronic music, as well as rap and genre hybrids that dominate the streaming era. In that sense, Orange Warsaw is more than a simple list of names on a poster — it’s a cross-section of trends and audiences: from those chasing the biggest headliners to those who discover, in the middle time slot, a band or solo artist everyone will be talking about in a few months. Why do people want to see it live? Because the festival atmosphere isn’t just music, but also the energy of the crowd, production, the city’s rhythm, and the feeling that you’re “at the center of the action.” Orange Warsaw especially leans on a strong stage impression: big stages, a focus on sound and visuals, and a program built so the audience keeps moving — between performances, on-site content, and spaces to take a breather. That’s why it’s not unusual that, alongside information about the festival, people often look for information about tickets: with events like these, planning is half the experience, and the other half is what happens when the lights go down and the first song “opens” the night. In the current lineup for the 2026 / 2027 edition, the most prominent names include Lewis Capaldi, Olivia Dean, FKA twigs and TV Girl — a combination that says a lot about the festival’s direction. Capaldi brings emotional pop and mass sing-along choruses, Olivia Dean delivers a modern blend of pop and neo-soul, FKA twigs is a name that merges alternative pop aesthetics, performance, and experimental production, while TV Girl represents an indie-pop tradition filtered through sampling and a retro vibe. A mix like that in the same evening usually means Orange Warsaw isn’t targeting a single “niche,” but a broader audience that wants to experience a varied program without needing to leave the festival grounds. Orange Warsaw takes place at the Służewiec racecourse in Warsaw, which is a typical festival location with enough space for big stages, crowd movement, and additional content. That “city within a city” is often what visitors remember: not only the performances, but also the time between them — the festival square, rest zones, food and drink, and the impression that the whole evening unfolds in a rhythm you choose yourself. In addition, in recent years the festival has often stood out for accessibility and a range of solutions that make the experience easier for people with disabilities, which in the European festival context is becoming an important standard, not an add-on.

Why should you see Orange Warsaw live?

• A lineup that connects trends and “safe” headliners — Orange Warsaw often combines globally popular names with performers who are transitioning toward bigger stages, so the program has the dynamics of discovery and confirmation.
• Production and sound on big stages — festival performances here aren’t a club gig “on the minimum,” but an experience in which visuals, lighting, and scenography work together with the music.
• Genre diversity over two nights — from emotional pop and neo-soul to alternative electronic music and indie-pop nostalgia, the audience can build its own “mini marathon” without the feeling that everything sounds the same.
• Warsaw’s atmosphere as part of the story — the festival is “urban” enough to feel the city’s pulse, but detached enough to sink into the festival world without constantly breaking the experience.
• An audience that reacts — the best festival moments often come from collective emotion: a chorus sung by the whole venue, silence before a ballad’s culmination, or an explosion of applause after a powerful finish.
• An experience remembered as a whole — Orange Warsaw isn’t just a list of songs, but a series of small “scenes”: arrival, the first show, wandering between stages, a break with food, and returning to the stage when the artist you’ve been waiting for comes on.

Orange Warsaw — how to prepare for the show?

Orange Warsaw is a typical open-air festival: a large area, multiple stages, and a multi-hour program whose tempo shifts from afternoon performances to evening headliners. That means the experience often lasts a long time and includes a lot of walking, waiting, and moving between zones. The crowd is diverse — from those who aim only for the main names to those who arrive early and follow the program from the first to the last performer, with breaks that are part of the festival routine. It’s good to set expectations realistically: the festival is intense, but that’s exactly its charm. The most practical advice is to arrive earlier than you think you need to — not because of “rushing,” but because of the feel: to get to know the space, gauge where the stages are, what crowd movement looks like, and where it’s easiest to find a place to take a breather. With an open-air format, clothing and footwear aren’t a trivial matter; comfort matters more than impression, because a few hours on your feet quickly shows the difference. If you’re traveling from outside Warsaw, it’s worth planning accommodation and the return trip in advance, because festival weekends fill the city and change the rhythm of public transport and traffic. To “get the most” out of the Orange Warsaw experience, it helps to do a small prep at home: listen to a few key songs by the performers you want to see, check what they’re like live and which songs they usually save for the finale. With artists like Lewis Capaldi or Olivia Dean, the crowd often comes for emotional peaks and choruses, while an FKA twigs set can be more of a performance and a visually powerful event, and TV Girl often lands best when you surrender to the rhythm and retro atmosphere. That kind of preparation doesn’t take away spontaneity — on the contrary, it helps you recognize the moment when something special is happening.

Interesting facts about Orange Warsaw you may not have known

Orange Warsaw is a festival that, since its beginnings (2026 / 2027), has gone through different phases and locations, and those changes have shaped its identity. In some periods, the festival functioned as a major city event; in others, as a classic festival campus with an emphasis on “festival town” content; and the return to a more spacious location enabled a stronger open-air character. In its history it has hosted a wide range of performers — from global pop and rock headliners to major names in electronic music and rap — so it’s often mentioned as a place where part of the audience first saw live an artist who later became part of the “big” concert league. Another important dimension is accessibility: in the Polish context, Orange Warsaw is often cited as a festival with serious investment in solutions for people with different types of disabilities, including zones and platforms near the stages, additional on-site support, and content that makes navigation easier. That’s not just logistics, but also a message about what a festival space should be — a place where the music experience isn’t measured only by volume and big names, but also by how inclusive and safe it is for different visitor profiles.

What to expect at the show?

A typical festival day at Orange Warsaw has its arc: earlier slots often belong to performers who warm up the crowd and build the atmosphere, while in the evening the area in front of the main stage thickens and gets that recognizable energy of a big event. If you’re following multiple performers, it’s realistic to expect you’ll spend some time moving — catching a better position, looking for the most comfortable listening spot, or simply “resetting” the experience in a rest zone before the next set. Program-wise, Orange Warsaw most often combines big sets on the main stage with parallel events on the second one, which means you’ll be choosing priorities. With headliners, the crowd usually plays it safe: the biggest hits, recognizable choruses, and moments that “work” on a mass audience. But it’s precisely at festivals that it often happens that what surprises you most is a set by an artist you didn’t plan to watch to the end — one powerful vocal, perfectly dialed-in sound, or charismatic communication with the crowd that turns the night in a different direction. The audience at Orange Warsaw is generally loud, but not necessarily “chanting” in a sports sense; it’s more shared participation, especially on songs everyone knows. After the set, the impression usually isn’t just “I was at a concert,” but “I was at a festival”: the memory ties to a whole series of moments, from the first entry into the venue to the last songs heard as the crowd slowly disperses, and the city continues living in the same rhythm the city continues living in the same rhythm, only with one more layer of shared memory that everyone who was in the same place at the same time shares. That’s why Orange Warsaw is often experienced as an event that is “remembered in frames”: the moment the spotlights come on and the crowd realizes it has started, the moment you first hear thousands of people singing the same chorus, or that brief pause between songs when you can feel in the air a mix of excitement and fatigue, and also the desire for the night to keep going. With a festival like this, it’s important to understand the logistics of the experience, too. At big open-air venues, a good part of the evening isn’t just listening, but also “positioning”: choosing the spot with the best sound, deciding whether you want to be closer to the stage or in a zone where it’s easier to breathe and move, and judging whether you’ll stay to the end of one set or leave early to catch the next. Orange Warsaw is the kind of event where even a few minutes’ difference can mean a completely different experience: either you’re in the first few rows when the headliner starts, or you’re in a crowd that’s only just forming. If you’re following artists like Lewis Capaldi, expect a typical festival “stadium” feel even though you’re outdoors: songs the crowd knows, an emphasis on vocals and emotion, and moments when the mass turns into a choir. Such sets usually have a clear dramaturgy — slower, more intimate parts that “lower” the energy before the chorus explosion arrives. With Olivia Dean, the experience can be different: more groove and rhythm, a warmer, “closer” sound, and a set that often wins over even those who came out of curiosity. In a festival setting that’s precious, because those artists are often the “most pleasant surprise” of the night. On the other hand, FKA twigs falls into the category of shows remembered for atmosphere and aesthetics. If the music is part of the story, performance and visual identity are often the second part — movement on stage, light, tempo, and a dramaturgy that feels more like a carefully directed event than a classic pop concert. In shows like that, the crowd sometimes reacts more quietly, more focused: less “singing along,” more watching and absorbing details. TV Girl, in a festival context, often brings the opposite feeling: a more laid-back indie atmosphere, recognizable melodies, and a “retro” layer that pulls the crowd into a shared groove without needing big gestures. As for the dynamics of the space itself, Orange Warsaw most often encourages movement. Even when you have “your” peak set of the night, it’s good to count on reaching it through a series of small decisions: when to get in line for a refreshment, when to step out of the crush, when to “catch” a better position, and when to settle for good sound and a clear view. Open-air festival crowds often spontaneously create their own little “zones”: a group of friends holding one spot, couples standing a bit further from the front, fans who arrived early and don’t move from their position. That social geography is part of the festival experience, and it’s not a bad idea to accept that sometimes the best view is the one you arrange for yourself, not the one that looks ideal on paper. In practice, that also means planning your visit is tied to expectations about crowds. When the most popular performer’s set approaches, it’s natural for a “wave” of people to move toward the main stage. Those who like to be at the center of the action will arrive earlier and secure a spot; those who prefer a safer space and easier movement will often position themselves further back and rely on the PA and visuals. Neither is “wrong,” but it changes the experience. Orange Warsaw is big enough that you can feel the difference between “front row” and “a good distance,” and both approaches are valid. When talking about the setlist and the program, the festival differs from standalone arena or club concerts. Performers often have a more limited duration, so sets are more concentrated: more hits, fewer long improvisations, fewer “side” tracks. That’s good for an audience that wants recognizable moments, but it can also be a challenge for those who love a deep dive through a catalog. On the other hand, that concentration often creates energy: there’s not much dead air, the tempo is tighter, and the crowd more easily stays “in the moment.” A key part of the experience is also the sound, which at open-air events can vary depending on position, wind, and crowd density. As a rule, the middle of the area often offers the best balance, while being too far to the side can change the stereo image and volume impression. If sound matters to you especially, it’s worth “walking” during the first few songs to find a point that suits you. Orange Warsaw is a festival where the difference between “good” and “great” sometimes comes down to ten meters. Besides the music, expect the classic festival ecosystem: food and drink offerings, rest zones, content that serves as a breather between sets, and places where the crowd can step away from the main flow. That isn’t just practical; it shapes the whole experience. Some visitors experience Orange Warsaw as a music marathon, others as a social weekend in the city, and others as a mix of both. That’s why it’s useful to decide in advance whether you want to “catch everything” or pick key sets and leave room for spontaneous moments. In a festival context, the question “how does the crowd behave?” often comes up. At Orange Warsaw, a culture of enjoyment and respect for the space generally prevails, but crowds have their own laws: if you want to push forward, do it before the set starts, not in the middle of the biggest song; if you want to talk, you often retreat to edge zones so you don’t disturb those who are listening; if you want to record a memory, you make sure the screen doesn’t become the only way you watch. These are small things, but at big events they make the difference between comfort and frustration. If you come with the idea that you’ll “catch” the best moments, it’s helpful to follow the atmosphere, not just the songs. At festivals, the strongest experiences often happen outside what you expect: an unexpectedly good opening set, an improvised speech by the performer, the crowd’s reaction to a song not everyone expected at that moment, or a perfect lighting change in the chorus. Orange Warsaw is exactly the kind of place where production and audience often work together, so those moments are created organically. When it comes to practical details, an open-air format also means you should be ready for changes in weather and temperature. Even when the day is warm, evenings can be cooler, and spending hours outdoors intensifies that feeling. That’s why the experience usually goes best for those who think ahead: layered clothing, comfortable shoes, a plan for movement and breaks. In that sense, Orange Warsaw isn’t just “going out to a concert,” but a small planning project that pays off in the experience. For part of the audience, the feeling of safety and personal space is also important. In big crowds, it’s worth following simple logic: if the space gets too tight, step half a pace back; if you feel the crowd’s movement rhythm is too fast, exit the main flow and find an edge corridor. Festivals are at their best when energy doesn’t turn into pressure, and most people understand that intuitively. Orange Warsaw, as a mass event, works best when visitors think about themselves and about others. A special value of the festival is also that the lineup can be read as a broader context of the music scene. When artists whose audiences overlap only partly appear at the same event, you get a chance to see how trends blend: pop that adopts elements of electronic music, indie that becomes more danceable, alternative aesthetics entering the mainstream. Orange Warsaw is often a place where you can feel that in real time, without theory: you simply stand in the crowd and watch different musical worlds share the same space. For those to whom the “story of the city” matters, Orange Warsaw has an additional dimension. Warsaw is a city that changes quickly, and events like this often serve as a mirror of that rhythm: an international audience, the local scene, the feeling that multiple things are happening at the same time. Even if you’re in Warsaw only for the festival, the experience of the city enters the event through transport, the rhythm of the streets, crowds, conversations, and that recognizable “the festival is in town” mood that you can feel even beyond the venue. If it’s your first time at Orange Warsaw, it’s good to accept that you won’t see everything. And that’s okay. A festival isn’t a stamina test, but a space of choices. Sometimes it’s better to watch one set to the end, fully, than to rush between stages and end up remembering only fragments. On the other hand, some visitors thrive on “hopping” and catching the best songs from multiple sets. Orange Warsaw allows both approaches, and the best one is the one that fits your rhythm. At the end of the night, the impression visitors most often take with them isn’t just a list of songs, but the feeling that they participated in an event with its own logic and energy. That’s why Orange Warsaw is often talked about as a festival people follow year after year (2026 / 2027), compare lineups, remember performances, and look for new reasons to return — sometimes because of one artist, sometimes because of the atmosphere, and sometimes simply because it’s one of those festivals where at least one moment always happens that you can’t plan, but later you retell it as if it had been inevitable, and that’s exactly where the magic lies when next time you start wondering what the night will look like, who will surprise you, and what that first sound will be like, and then it turns into a series of moments that spill into one another, without a clear boundary between “concert” and “festival life.” In that formula, Orange Warsaw is most interesting when viewed as an urban experience: it’s not an event that happens somewhere far from the city, but a manifestation that briefly turns Warsaw into a music stage of wider reach.

How Orange Warsaw grew into a symbol of Warsaw’s festival start of summer

Although it is essentially a music festival, Orange Warsaw has over the years also positioned itself as a cultural signal — a kind of announcement that the season of big open-air events has started. The first edition was held in 2026 / 2027, and through subsequent periods the festival changed locations and concepts, which ultimately strengthened its identity rather than diluting it. In earlier phases it could be more strongly tied to the city center and a “city stage,” while later, with greater production ambitions and audience growth, it found a format that better withstands mass attendance, parallel performances, and everything today’s audience expects from a major European festival. That evolution can also be read through the types of performers who appeared on the program. In different periods, Orange Warsaw brought big names from the global pop and rock scene, artists from electronic and dance music, as well as those leaning toward a more alternative sound. That genre openness allowed the festival to remain relevant even as audience taste changed: what was “mainstream” yesterday can be a nostalgic program point today, and what was “alternative” yesterday can fill the biggest stages today. When it comes to the 2026 / 2027 edition, the very first lineup announcements suggest a continuation of that direction: a combination of performers with strong mainstream reach and those recognizable for aesthetics, performance, or a specific “world” they bring to the stage. Lewis Capaldi, Olivia Dean, and TV Girl form a triangle that draws audiences in different ways — from mass choruses and emotional narration, through warm contemporary pop-soul sound, to indie nostalgia and sampled melancholy. In a festival context, that means different audiences don’t have to compete, but can complement one another: some visitors will come for one performer, but along the way they’ll “pick up” the experience of others.

The lineup as a mirror of trends: from big choruses to aesthetic performance

A festival lineup is often the fastest way to understand what organizers think the audience wants to hear “now.” Orange Warsaw generally plays the safe card only partially. Yes, it brings names that will attract a big crowd, but in parallel it tries to offer a dose of risk: performers who are strong live but not necessarily “the biggest” in the classic sense, as well as those whose sets go beyond music and enter the realm of performance. Lewis Capaldi is useful to the festival in this story in a very clear way: his repertoire is built to work in a large space. The songs have recognizable peaks, the crowd often reacts loudly and emotionally, and the set builds toward the moment of collective singing. On an open-air stage, that can be especially striking, because the chorus sound spreads in waves through the mass. A crowd that otherwise isn’t “a fan” can end up singing simply because the atmosphere pulls them in. Olivia Dean brings a different color to the festival. Her strength isn’t in “stadium” overpowering of the crowd, but in a sense of measure, groove, and warmth. In a festival environment, such sets often become an important counterpoint: a moment when the crowd doesn’t have to push to the front, but can enjoy the sound, rhythm, and atmosphere. At big festivals, these are exactly the sets remembered as “the most pleasant part of the night,” because they create an experience that isn’t just adrenaline, but also musically satisfying. TV Girl is a separate story, because the band brings an indie-pop aesthetic to the stage that, in a crowd, behaves almost dance-like, but without classic festival “pump” dramaturgy. Their songs often have that retro taste, as if they come from a different time, but they sound modern enough that the crowd reacts instinctively. In a festival context, that matters: not every night is made only of big climaxes; you also need sets that keep the crowd in rhythm and give them a reason to stay on site, to move, and to absorb the broader picture of the event. In public announcements for the 2026 / 2027 edition, FKA twigs is also mentioned, which is the kind of performer that gives the festival aesthetic weight. Her set is often experienced as a combination of music, visual dramaturgy, and performance that demands the crowd’s attention. That’s an interesting contrast to festivals that rely exclusively on “hits.” In that sense, Orange Warsaw tries to remain more than an entertaining weekend: it wants to be an event with an identity, where different kinds of artistic expression can meet in the same space.

Służewiec as a festival backdrop: open space, urban dynamics

The location at the Służewiec racecourse gives Orange Warsaw what is crucial: enough space for a mass audience and serious production, but also the feeling that you’re still in Warsaw’s urban context. That combination creates a specific atmosphere. You’re not isolated “in a field,” but in a city with its own energy, infrastructure, and rhythm. You can see that in how people come to the festival: some arrive by public transport, some by car, some as tourists who combine the festival with a weekend in Warsaw. In practice, that means Orange Warsaw often functions as an event with both a daytime and an evening life. Visitors who arrive earlier use the day for the city, walks, museums, or cafés, and then switch over to the festival. Those who come only for the music focus on arrival and return logistics. In both cases, the city becomes part of the story: the festival isn’t only what you hear from the stage, but also what happens before and after. Given the size of the space, it’s useful to think of movement as an important part of the experience. It’s not all about being “the closest,” but about finding a good position for what you want to experience. If the crowd’s energy matters to you, if you want to feel the wave of people when the biggest hit starts, you’ll naturally gravitate closer to the stage. If sound or overview matters more, you’ll often feel better a bit further back, where the PA is more balanced and the space “breathes.”

Accessibility and an experience without barriers

One of the topics by which Orange Warsaw often stands out in the regional context is accessibility. The festival’s organizers publicly present it as an event that systematically introduces accommodations for people with different types of disabilities and strives to create a safe space for all visitors. In practice, that means accessibility isn’t treated as a side item, but as part of planning: from information, through movement around the site, to the way certain content and zones are designed. For the broader public, that matters beyond the topic of disability itself, because it speaks to the culture of the event. A festival that thinks about accessibility often also thinks better about crowds, safety, flow of people, and the quality of the experience. Such an approach doesn’t “take away” from the experience; it usually makes it more comfortable: clearer zone markings, better organization, and the feeling that the space is designed for different needs. Accessibility in the context of an open-air festival also has a very concrete dimension: moving around a large area can be tiring even for those without any health limitations, let alone for people with motor, sensory, or other challenges. That’s why it’s important that information is provided in advance, that solutions exist on the ground, and that the audience feels welcome. In that sense, Orange Warsaw is often cited as an example of an event aware that a “festival for everyone” isn’t a slogan but a job.

How the audience plans Orange Warsaw: information, program, and tickets

With big festivals, planning starts before you even step onto the grounds. The audience follows lineup announcements, compares set times, and tries to build its own schedule. Even those who don’t like to “plan too much” usually still have a few priorities: an artist they don’t want to miss, an approximate arrival time, and an idea of how they’ll move between stages. In that phase, the question of tickets often appears. It’s natural that, alongside big performers and popular dates in the festival calendar, audience interest increases and ticket information is sought in parallel with program announcements. It’s important to keep realistic expectations: regardless of format and ticket type, the key is that the visitor organizes the experience in time, not that they rely on last-minute improvisation. Good planning doesn’t mean losing spontaneity. On the contrary, it frees space for spontaneous moments. When you know where you want to be at the key times, you can afford to wander in between, discover, sit down, watch the crowd, and absorb the atmosphere. Orange Warsaw is a festival where the experience often consists of a combination of intention and chance: you come for one performer and leave with three more new names on your playlist.

What makes a good festival day: tempo, breaks, and small choices

One of the most common reasons people say after a festival that they “missed half the things” isn’t a bad lineup, but unrealistic expectations. A festival isn’t a streaming service where you can skip between songs without consequences. Every move from one stage to another costs time and energy. Every trip for refreshments or rest is a small decision that changes the schedule. That’s why it’s useful to think of a festival day as a rhythm: you have peaks, you have breaks, you have moments where you’re simply moving and observing. Orange Warsaw is a format that encourages that rhythm. The two-day concept often means the audience spreads itself out: one day goes “full power,” the second day chooses a more relaxed pace. Some visitors do the opposite — the first day they “dial in,” the second day they go to the maximum. There are no rules, but there is one lesson: a festival is a marathon with elements of a sprint. The best experience is had by those who recognize when to push and when to stop. Breaks aren’t a waste of time. At big festivals, a break is part of the dramaturgy. It lets you reset your hearing, breathe, and think about what you just saw. After that, the next set sounds better, and the crowd feels more intense. Orange Warsaw, as an event with strong production, often offers enough “stimulation” that a break is actually the key to a good experience.

Why Orange Warsaw has its audience beyond Poland

Although the festival is rooted in Warsaw and the Polish scene, Orange Warsaw has the potential to attract visitors from other countries, especially from the region. The reason is simple: a combination of a city that’s interesting for a weekend visit and a festival that offers international names. For part of the audience, that’s an ideal formula: come for the music and, along the way, experience the city. Warsaw as a destination adds additional context. The festival then becomes one stop in a larger itinerary. That aspect often changes the way visitors experience the event: they’re not burdened by having to “see everything,” but choose experiences. In that sense, Orange Warsaw can also be an entry point into the broader picture of the Polish music and cultural scene, because through the lineup and accompanying content you can often feel the local energy.

An experience that lasts after the last song

After the festival, the impression doesn’t come down to the question “was it good,” but to what remains. Some remember one set, some one song, some one image of light in a chorus. Others remember a conversation with friends while waiting for the next set. Others remember the feeling as the crowd begins to disperse, and in the air the sound still lingers as it slowly fades. Orange Warsaw has the quality of often leaving a “longer tail” in memory. Partly because it’s an event experienced as the start of the season, so the audience often compares it to what’s still to come. Partly because Warsaw as a city gives the festival experience a frame that doesn’t collapse the moment you leave the grounds. And partly because at such festivals something unplanned always happens: a new song you discover, a performer who surprises you, or a moment when you realize you’re in a crowd of people sharing the same rhythm — an experience that’s hard to translate into words, but easy to recognize when you’re living it. In that sense, Orange Warsaw is a festival that doesn’t try to convince the audience it’s “the biggest,” but gives it enough reasons to remember it as their own. It’s mainstream enough to draw a large crowd, diverse enough to satisfy different tastes, and thoughtful enough that the experience doesn’t boil down only to the stage. That’s why, year after year (2026 / 2027), the same habit returns: follow announcements, comment on the lineup, plan the trip, and try to guess which moment in this edition will become the one you’ll retell long after the lights go down. Sources: - Orange Warsaw Festival (official portal): lineup announcements and basic information about the festival - Orange Warsaw Festival (official portal): festival description and historical overview of editions - Orange Warsaw Festival (official portal): accessibility page and solutions for people with disabilities - Orange Warsaw Festival (official document): arrival instructions and the context of the Służewiec location - Wikipedia: overview of the festival’s history and location changes over time - Biuro Prasowe Orange: press release about performers and the context of the 2026 / 2027 edition