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Buy tickets for festival Orange Warsaw - 29.05.2026., Tor Sluzewiec, Varšava, Poland Buy tickets for festival Orange Warsaw - 29.05.2026., Tor Sluzewiec, Varšava, Poland

FESTIVAL

Orange Warsaw

2 day pass
Tor Sluzewiec, Varšava, PL
29. May 2026. 15:00h
2026
29
May
Photo by: Domagoj Skledar/ arhiva (vlastita)
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Tickets for Orange Warsaw Festival 2026 at Tor Sluzewiec: Buy passes for the two-day festival in Warsaw

Buy tickets for Orange Warsaw Festival at Tor Sluzewiec in Warsaw and secure a two-day pass starting 29 May, with music from afternoon onwards (15:00). This page focuses on ticket sales and practical visitor info with arrival tips, plus the 2026 lineup featuring Lewis Capaldi, Olivia Dean, FKA twigs and TV Girl
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Orange Warsaw Festival as the city kick-off to the festival summer

Orange Warsaw Festival returns to Warsaw as a two-day music festival that opens the season of major open-air events, and this year the focus is on strong names in contemporary pop, indie, and experimental forms. The event starts on May 29 at the Tor Sluzewiec venue in Warsaw, with the program announced to begin at 15:00, and the ticket is valid for 2 days, which means that with one package you cover two festival evenings and the full range of atmosphere from afternoon performances to later peaks. The Sluzeviec Horse Racetrack traditionally hosts large crowds, so even in the early phase there is pressure of interest and the need to secure tickets in time, especially if you are planning to come from another country or want to choose the best entry option. The 2026 line-up has already gained clear anchor points, with Lewis Capaldi, Olivia Dean, FKA twigs, and TV Girl among the announced performers, which positions the festival as a blend of radio-friendly hits and artistically ambitious pop. Secure your tickets for this event now!

What the program brings and how festival dynamics are built

For years, Orange Warsaw Festival has cultivated the idea that a big city festival does not have to be genre-narrow, but can guide the audience through different aesthetics, from melodic choruses to production experiments and strong visual identities. According to currently published information, Lewis Capaldi performs on Friday, and Olivia Dean and FKA twigs on Saturday, while TV Girl also enters the festival story as a name that naturally attracts an audience that loves indie pop, sampling, and retro sensibility. Although the festival schedule is usually arranged by time blocks and stages, the key thing for a visitor is to plan the two evenings as one whole, because the two-day ticket gives you the option to experience the first day as an introductory explosion and the second as a culmination, or vice versa, depending on personal favorites. Precisely because of such a concept, ticket sales often accelerate as soon as the first strong names are confirmed, because many want to be sure they will have access on both days and enough room for improvisation on site. If you want to get the maximum out of the program, buying tickets earlier gives you both peace of mind and an operational advantage in organizing travel, accommodation, and arrival at the venue. Buy tickets via the button below.

Lewis Capaldi and the magnetism of honest pop

Lewis Capaldi is a performer who built his strength on a combination of big melodies and emotionally direct lyrics, and the audience often experiences him as a voice that speaks without restraint about vulnerability, breakups, and self-questioning. At a festival like Orange Warsaw, this is especially effective, because the open space and the mass choir of the audience turn into a communal singing of choruses that have been part of the global pop repertoire for years. His performances have a dynamic that starts intimate, but quickly expands into monumental sound, because the songs naturally ask to be sung out loud, and precisely such moments are why festival tickets are bought and trips are planned. On Friday, a strong turnout is expected from the audience that wants to catch that first big peak of the two-day program, so it logically suggests the practical advice to secure tickets earlier, especially if you are aiming for the two-day package. It is also important to count on the fact that festival performances often bring different arrangements or set dramaturgy, because performers adapt the show to a big stage and the collective energy of the audience. When such a performer appears at the start of a festival weekend, it is often the trigger for tickets to become more sought after, and interest spills over to the second day as well.
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Olivia Dean, FKA twigs, and TV Girl as an expansion of the palette

Olivia Dean brings a pop and neo-soul sensibility that relies on vocal warmth, precise arrangements, and songs that are simultaneously accessible and sophisticated, so a special emotional arc is expected from her Saturday evening. FKA twigs, on the other hand, represents an artistic direction that is often remembered in a festival setting as a unique experience, because her performances do not come down only to songs, but to a whole that includes movement, visual dramaturgy, and sound that goes beyond standard pop frameworks. Such a combination of performers on the same day usually attracts different audiences, from those seeking pure melody to those who want experiment and an aesthetic on the edge of performance, which further strengthens the reason to buy a two-day ticket rather than just a one-day pass. TV Girl naturally fits into that concept as a performer who builds an identity on sampling, nostalgic textures, and an indie-pop vibe that outdoors can sound like the soundtrack of late spring. In practice, such a schedule means that the audience on Saturday often stays longer, because they want to see more different approaches and catch transitions from one world to another, and it is precisely on such evenings that that festival story is born—the one people talk about for weeks. Tickets for this concert are disappearing fast, so buy your tickets in time.

The festival as part of modern Warsaw’s identity

Orange Warsaw Festival has, from the beginning, been conceived as a big city festival that connects music and urban culture, and its identity is not only in the names on stage but also in the feeling that Warsaw turns into the musical center of the region for two days. The organizational context further emphasizes the fact that behind the festival stands a producer with strong experience in major events, and the festival platform itself is continuously presented as an important cultural marker of the city and the start of the festival summer. In that sense, tickets are not only entry to a concert, but also entry into the city rhythm in which tourism, nightlife, and the music scene overlap in the same weekend. In historical overviews of the festival, it can be seen how the line-up has changed over the years, but the constant has remained a combination of international stars and sound that keeps pace with the times, from big pop moments to alternative detours. That is exactly why ticket sales are often experienced as a kind of thermometer of interest, because the festival brings together not only a local audience but also visitors from neighboring countries who experience Warsaw in late May as a logical destination. When the festival emphasizes that it is the leading music and cultural event of the city, in practice this can be seen by how travel plans, accommodation, and logistics immediately begin to form around it.

Tor Sluzewiec as a stage with history and a green horizon

Tor Sluzewiec is not just a large open area, but a historically and architecturally significant location of Warsaw, recognized as a place of horse races and sporting tradition, but also as a space that can be transformed into a festival city. The historical layers of this complex are tied to the period before World War II, and in Warsaw’s modernist story it is often mentioned as an icon opened in 1939, with infrastructure that over decades has gone through different roles, from sporting pride to wartime turbulence. For the festival visitor, that means entering a space that has character and recognizable vistas, with stands and a wide green environment that allows good flow of people and a sense of openness, which is crucial for the experience of an open-air event. Tourist descriptions of the location emphasize that the complex includes multiple grandstands and facilities connected to races, and that sporting framework gives the festival a special dynamic, because the audience literally takes over ground that is otherwise intended for a competition of speed and elegance. When such a space turns into a music festival, you get a contrast between tradition and contemporary sound, and it is precisely that contrast that often makes tickets even more sought after, because the experience is not replaceable by a classic indoor hall. If it matters to you to arrive earlier and take a good position, the two-day ticket gives you the opportunity to get to know the terrain on the first day, and use it more confidently and more relaxed on the second day.
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City context, spring mood, and why late May is special

Late May in Warsaw often has that ideal measure of spring freshness and longer days, which makes outdoor festivals more pleasant, and at the same time the city lives at a full tourist pace without the harshest summer heat. Orange Warsaw Festival uses precisely that moment in the calendar, when the audience psychologically switches from club seasons to open air, and the two-day format gives enough time to experience both the music and the city. Warsaw as a metropolis has strong cultural infrastructure, so the festival weekend is often combined with touring neighborhoods, galleries, parks, and the gastro scene, which further explains why tickets are bought from outside Poland as well. In such a mood, the festival is not only a program on stage but also a social event, a meeting place and a planned outing that lasts all day, so it is smart to think about logistics earlier, from arrival to the return to accommodation. Two evenings at the same location make it possible for you to set your own pace, to do one evening more intensely and the other more calmly, without the feeling that you missed key moments, which is another argument for two-day tickets. Ticket sales are available and often intensify as the festival approaches, so it is rational to secure your tickets earlier and avoid stress around the last batches.

Practical information for visitors and how to plan your arrival

Tor Sluzewiec is located at ul. Pulawska 266 in Warsaw, which is concrete information that helps in planning the route and estimating arrival time, especially if on the first day you want to arrive before the program starts at 15:00. With big festivals, it is crucial to count on crowds at the entrances, checks, and movement around the site, so a two-day ticket practically means you have two chances to optimize your experience and learn how to move fastest between zones. As a rule, it is recommended to arrive earlier, especially on a day with a performer you want to watch from the front rows, because the audience forms in waves and the best spots are established long before the evening peak. It is also useful to plan basic things like comfortable footwear, protection from weather changes, and enough fluids, because an open space and many hours on site require a different approach than a classic indoor concert. If you are traveling from outside Warsaw, consider a time buffer for the return after the program ends, because the two-day format often means fatigue accumulates, and it is good to have a simple plan of movement on both days. Secure your tickets for this event now!

Sources:
- Orange Warsaw Festival, news Orange Warsaw Festival 2026 is coming! and confirmation of the date and location
- Orange Warsaw Festival, main page with the announced performers for 2026 and the schedule by days
- Orange Warsaw Festival, Tickets 2026 page with ticket types and sales phases
- Go To Warsaw, description of the Sluzeviec horse racing track and the address ul. Pulawska 266
- Tor Sluzewiec, About Racetrack and the historical context of the location
- WhiteMAD, text about the history and modernist significance of the Sluzeviec racecourse
- Alter Art, About us and the context of the organizer of major festivals in Poland
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Everything you need to know about tickets for festival Orange Warsaw

+ Where to find tickets for festival Orange Warsaw?

+ How to choose the best spot to enjoy the Orange Warsaw festival

+ When is the best time to buy tickets for the Orange Warsaw festival

+ Can tickets for festival Orange Warsaw be delivered electronically?

+ Are tickets for festival Orange Warsaw purchased through partners safe?

+ Are there tickets for festival Orange Warsaw in family sections?

+ What to do if tickets for festival Orange Warsaw are sold out?

+ Can I buy tickets for festival Orange Warsaw at the last minute?

+ What information do I need to buy tickets for the Orange Warsaw festival

+ How to find tickets for specific sections at the Orange Warsaw festival

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3 hours ago, Author: Culture & events desk

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Culture & events desk

The editorial team for arts, music and events brings together journalists and volunteers who have spent years living alongside stages, clubs, festivals and all those spaces where art and audience meet. Our writing comes from long-standing journalistic experience and genuine involvement in cultural life: from endless evenings in concert halls, from conversations with musicians before and after performances, from improvised press corners at festivals, from premieres that end with long discussions in theatre corridors, but also from small, intimate events that attract only a handful of curious people yet remain engraved in their memory for a lifetime.

In our newsroom write people who know what a stage looks like when the lights go out, how the audience breathes while waiting for the first note, and what happens behind the curtain while instruments or microphones are still being adjusted. Many of us have spent years standing on stage ourselves, participating in programme organisation, volunteering at festivals or helping artist friends present their projects. This experience from both sides of the stage gives us the ability to view events not merely as items in a calendar, but as living encounters between creators and audiences.

Our stories do not stop at who performed and how many people attended. We are interested in the processes that precede every appearance before the public: how the idea for a concert or festival is born, what it takes for a comedy to reach its audience, how much time is spent preparing an exhibition or a multimedia project. In our texts we try to convey the atmosphere of the space, the energy of the performers and the mood of the audience, as well as the context in which all this happens – why a certain performance is important, how it fits into the broader music or art scene, and what remains after the venue empties.

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Our task is simple and demanding at the same time: to be reliable witnesses of cultural and entertainment life, to write honestly toward the audience and honestly toward performers. We do not deal in generic praise; we aim to precisely describe what we see and hear, knowing that every text may be someone’s first encounter with a certain band, festival, comedian or artist. The editorial team for arts, music and events therefore exists as a place where all these encounters are recorded, interpreted and passed on – humanly, clearly and with respect for the very reason it exists at all: the live, real event in front of a real audience.

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