The Polish festival also boasted sensational sets from Tyla, J Balvin and Caribou, with extra fabulousness further down the bill

In partnership with Open’er Festival

Words: Jordan Bassett and Kyann-Sian Williams

As we’ve discussed this week, you never know quite what to expect at Open’er Festival, the four-day extravaganza in Gdynia, Poland, which this year sees epics sets from MuseLinkin ParkLittle SimzDoechi and loads more. When you’re not enjoying one of the admirably odd attractions such as the Guess Jeans dance hall where you can have a boogie and watch a video of some trousers rolling around the washing machine, there’s plenty further down the line-up to make your eyes pop.

Take Dom Qultury, a smaller tent tucked away in the corner of this enormous airfield, which on Thursday (July 3) hosted the Gender Blender, a series of drag and cabaret acts that included a guy in a pink suit who did an extremely wholesome acrobatic striptease on a bistro table to Jason Mraz’s ‘If It Kills Me’. Here’s what else we saw on day two.

Nine Inch Nails upstaged the guy in the pink suit

Hard to believe, but somehow true. In what was admittedly a very different performance, Trent Reznor and his merry band of techno-punks took to the main stage at 10pm for a truly electrifying set. The band was packed tight together, hemmed in by rows of gigantic, white-hot lightbulbs at the front and sides of the stage; it was sort of like Kanye West’s 2015 performance at Glastonbury, but without a slightly awkward rap on top of a crane.

It was less divisive, too. The sound of that buzzing, grinding guitar seemed to jolt the huge audience, who bounced and jostled as one seething mass, only extracting themselves from one another to form a huge circle pit to the pulverising likes of ‘Copy Of A’. Punters spilled way back past the viewing platform towards the middle of the field, marking this as one of the most enthusiastically attended shows of the festival so far.

Reznor seemed to appreciate the explosive atmosphere at the Gdynia-Kosakowo Airfield. Clad in industrial-looking black jeans, boots and jacket, he swung on his mic stand as the pit scythed before him and threw his hands up like a preacher when the band pumped out the liquid funk of horndog anthem ‘Closer’. At one point, backed by the galloping beat of ‘God Break Down The Door’, he parped away on squalling sax. At another, before a cover of David Bowie’s stuttering ‘I’m Afraid Of Americans’, he intoned, “This is a song we got to work on with our hero,” adding that its sentiment “seems to get more true” with every day that passes.

The only crowd member who didn’t seem to be completely transported by the whole affair was one guy towards the left of the stage, who stood there calmly juggling balls while the carnage erupted around him. You see it all at Open’er. (JB)

Tyla and her dancers at Open'er 2025. Photo credit: didkivskyi
Tyla and her dancers at Open’er 2025. Photo credit: didkivskyi

Future helped Poland master the art of the mosh pit

The saying goes that insanity is doing the same thing over and over again and expecting a different outcome. So, having seen Future repeatedly at various festivals, you’re prepared to be underwhelmed: something about a trap pioneer – a musical needlemover, if you will – pacing the stage, performing half his lyrics like we’re in a karaoke bar, gets old. Plus, Future was nearly an hour late at Open’er and killed all anticipation – especially when every other set here has been so prompt. But, rocking his new bleach blond ‘fro and simple (yet probably expensive) tee and shorts, he swiftly apologised by being a chaos merchant, flipping the crowd’s disappointment into pure wildness with his classic trap war-cries.

The mosh pit is his kingdom – a sweaty, chaotic space where controlled chaos reigns suprem and only he knows how to command it. “Open it up!” quickly became one of Future’s go-to lines and with just these few words, the masses moved as crates were carved in the heart of the crowd, creating a sandy haze as powdery mud and sweat rose throughout the air amid the jumping. On a cold coastal night, you left the pit drenched – preferably in your own sweat, but maybe someone else’s too. “I knew Poland was gonna turn up with me tonight,” Future praised, dripping with raw reverence as though we’d be tired at one-something in the morning: we’ll rage at any time.

This Polish rap audience has truly embraced the art of moshing. Here, taking cues from rock’s originators, kids pushed open a huge circle and let it be: limbs swinging to the 808s, shadowboxing their inhibitions – but they also banished the mindless and robotic collisions of a normal rap mosh pit. You felt safe in arguably the most dangerous place in the crowd. With pyro flaring behind him, Future’s set didn’t just bring the heat – it was a visceral reminder of how a live rap show should feel: wild, unruly and utterly alive. (KSW)

The best of the rest

The crowd chanted, “Tyla, we wanna party!” – and party we did at the South African pop princess’ Polish debut. Bringing amapiano straight from Johannesburg to Gdynia, she owned the Open’er main stage with dancers in tow replicating the same moves that set dancefloors ablaze back home. Tyla slunk across the stage, swishing her hair and hips with effortless cool, before breaking into the Bacardi dance she made viral. She was clearly on a mission to provide energy under the Polish sun, and Tyla did just that.

Future at Open'er 2025. Photo credit: Alex Elms
Future at Open’er 2025. Photo credit: Alex Elms

It felt like the crowd was transported to 3025 during J Balvin’s set. Inflatable cars floated above the stage while supercomputer-like graphics scrawled across the screens behind him, the Colombian reggaeton legend rocking a pair of glasses only Marty McFly could also pull off. The otherworldly visuals perfectly matched the out-of-this-world energy pulsing through the crowd. Self-proclaimed salsa specialists swung their friends around, tangoing under the stars to the fiery Latin pop pouring out from the Tent stage. Though many didn’t speak Spanish, Balvin indicated “we’re all Latino” in spirit, uniting the masses while delivering his fiery rhythms that lit up the night. (KSW)

At 1am, as Future put on his grand, dramatic and at times somewhat gothic performance on the main stage, Caribou’s Dan Snaith padded onstage before a packed audience in the Alter tent, dressed down in a white t-shirt, cream trousers and a pair of blue socks. You felt like you were in the dance whizz’s living room as he and his four-piece band jammed through ‘Volume’, his louche, discofied take on electro pioneers M|A|R|R|S’ influential 1987 hit ‘Pump Up The Volume’. Ever-zen, Snaith didn’t even bat an eye when a drone sauntered through the air, whizzed around the stage and headed back into the audience. (JB)

Kanye West, the artist and producer now going by Ye, stepped back onto a Los Angeles stage focused purely on the music during night one of his two show run at SoFi Stadium in Inglewood, California on Wednesday, April 1. The return arrives after years filled with controversy, public scrutiny, personal struggles involving mental health, and his January apology published in The Wall Street Journal addressing his antisemitic comments. Showing unusual restraint, the outspoken performer chose not to address any of the criticism during what marked his first major U.S. performance in years.

Public backlash did little to slow the momentum of the event as thousands of supporters filled the venue floor and stands. Many arrived dressed in Kanye merchandise, avoiding controversial imagery, along with lucha style shirts fresh from the merch counters. A look at ticket prices shows Ye continues to command major revenue from his catalog despite his offstage controversies. According to Ticketmaster, general admission tickets for the April 3 show were listed at $537.80. Resale listings for upper tier seats, which offered clearer views of his half sphere inspired stage design, were also priced in the hundreds. Fans who could not attend in person were able to watch through a livestream that appeared on his Instagram just hours before the performance began.

Across a two hour performance, Ye delivered a wide ranging set filled with classic favorites, repeated tracks, and selections from his recently released twelfth album Bully. Wearing a black face covering, he walked alone across the curved stage structure designed to resemble Earth and at moments gave the impression of a solitary figure on his own world.

The crowd reflected different generations of listeners as younger fans sang along to newer tracks such as “FATHER” and the André Troutman collaboration “ALL THE LOVE.” Energy spiked when a mosh pit formed during “Blood on the Leaves.” Older millennial fans found their nostalgia during a sequence of songs spanning Kanye’s early and mid career from 2004 through 2016, from The College Dropout through The Life of Pablo. Songs like “Can’t Tell Me Nothing” and “N—-s in Paris” echoed through SoFi Stadium with the same intensity as when Graduation or the Jay Z collaboration Watch the Throne first arrived. “Say You Will” and “Heartless” from 2008’s 808s & Heartbreak brought back familiar feelings tied to heartbreak and the era when Auto Tune shaped the sound of pop and hip hop. The closing stretch featuring “All Falls Down,” “Jesus Walks,” “Through the Wire,” “Good Life,” “All of the Lights,” and the emotional finale “Runaway” sparked a sense of longing for earlier days both for fans and for the Chicago native himself.

Aside from the nostalgic song choices, technical problems occasionally interrupted Ye’s creative plans. Early performances of “KING” and “THIS A MUST,” which he later repeated, were affected by microphone and audio complications. He also stopped “Good Life” three separate times because he was unhappy with what he called the “corny” lighting setup. “Is this like an SNL skit or something?” he asked the production team. “Stop doing the vibrating Vegas lights, bro. We went over this in rehearsal.” The first SoFi Stadium show almost felt like a preparation run for the April 3 performance, which also happens to land on Good Friday. The timing also recalls the G.O.O.D. Friday song releases that led into his landmark 2010 album My Beautiful Dark Twisted Fantasy.

Despite frustrations with the production, Ye did not perform alone. Longtime collaborator Don Toliver joined him onstage for performances of “Moon” and his own track “E85.” Ye’s daughter North also appeared, bringing bright energy and her blue hair to performances of “Talking” and “PIERCING ON MY HAND.” She wore one of her father’s concert shirts during the appearance, all while it was still a school night.

As the concert continued, Ye handled the technical setbacks as they happened without turning the situation into a rant. For longtime fans, separating his unpredictable public behavior from his extensive catalog of influential songs remains complicated, especially for those who still feel connected to his earlier creative periods. At the same time, his former close collaborator Jaÿ Z is preparing for his own stadium appearances this summer, which adds another layer of reflection about what their partnership once represented. Ye may be staying quiet publicly for now, yet questions remain about whether a full redemption era could still be ahead.

Ye 2026 Set List

1. KING
2. THIS A MUST
3. FATHER
4. ALL THE LOVE
5. Father Stretch My Hands, Pt. 1
6. Can’t Tell Me Nothing
7. N—-s in Paris
8. Mercy
9. Praise God
10. Black Skinhead
11. On Sight
12. Blood on the Leaves
13. Carnival
14. Power
15. Bound 2
16. Say You Will
17. Heartless
18. Moon (with Don Toliver)
19. E85 (Don Toliver)
20. KING
22. THIS A MUST
22. FATHER
23. ALL THE LOVE
24. Talking (North West)
25. Piercing On My Hand (North West)
26. Everybody
27. All Falls Down
28. Jesus Walks
29. Through the Wire
30. Good Life
31. All of the Lights
32. Runaway

This article was originally published on VIBE.

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