MusicFreaks

Tag: Open’er Festival

  • JENNIE and Addison Rae bring an unapologetic pop spectacle to Open’er Festival 2026 day four

    Festivals have always served as the exclusive playgrounds for iconic rock bands and superstar DJs. Events like the Open’er Festival 2026 have cemented this legacy, featuring titans such as Calvin Harris, Florence & The Machine, Nick Cave And The Bad Seeds, and The xx delivering impeccable headline sets.

    But the festival landscape has dramatically shifted. Over recent years, pop titans have proven that infectious, slick genres can command a feral field just as easily as plush arenas. The final day of Open’er Festival 2026 was less about rock history and more about an unapologetic takeover by the brightest megastars in modern music.

    JENNIE arrived as the undeniable force, demonstrating mastery over progressive pop. While she has achieved massive success through BLACKPINK, her performance at Open’er was a masterclass in self-assured artistry. She navigated the stage with confidence, seamlessly blending high-concept identity anthems with surprising indie rock bangers like Tame Impala’s ‘Dracula’. Her set wasn’t just a performance; it was a progressive pop masterclass that showcased an artist comfortable stepping into the spotlight and commanding the audience.

    A notable element of JENNIE’s show was her willingness to push boundaries. She introduced unreleased solo tracks, allowing the energy to flow freely between shimmering dance beats and raw emotional moments. From the sugary rap-pop bangers like ‘Mantra’ to soaring drama, she delivered a performance that felt entirely fresh, showing a glimpse into the next era of pop.

    Equally vibrant was Addison Rae, whose ascent from viral sensation to pop megastar has been meteoric. Her presence at Open’er was pure, playful pop maximalism. The hour-long set was a whirlwind of high-energy dance breaks, trust falls, and costume changes that transformed the stage into a swinging playground.

    Rae channeled the excess and euphoria of pop history, pulling inspiration from legends like Britney Spears and Lady Gaga while delivering high-octane club escapism. Her performance felt like a deliciously over-the-top romp through heartache and lust, cementing her position as a contemporary spectacle leader.

    Meanwhile, Jade brought a truly inclusive and reflective energy to the Tent Stage. As a solo artist emerging from the shadow of Little Mix, she explored a spectrum of emotions, balancing defiant power-pop with vulnerable introspection. Her performance showcased a journey of discovery, moving fluidly between rebel spirit and heartfelt vulnerability.

    Jade also championed inclusivity, treating her audience to snippets of Little Mix songs while casting a rainbow flag onto the stage screen, declaring that everyone was welcome in the ‘church of Jade’. Her set offered a powerful message of being seen and belonging.

    Adding an irresistible edge was PinkPantheress. Far from being a weakest link, she threw a hardcore dance party that fused the soft with the hard. Draping velvet vocals over drum ’n’ bass beats, she delivered a modern take on Sade while expertly weaving unexpected rave segments and moments of pure surprise into her performance.

    The collective energy across the festival demonstrated that today’s music scene is defined by spectacle, fearless artistry, and a dynamic blend of vulnerability and unapologetic excess. It was a stunning showcase of how pop stars are not just making music—they are defining an entirely new kind of festival experience.

    Credit: NME

  • The Cure and Ethel Cain unleash surprisingly sunny emo rock on Open’er Festival 2026 day three

    The Open’er Festival doesn’t just host music; it transforms Poland into a sprawling, eclectic paradise where genre boundaries dissolve and the atmosphere becomes pure euphoria. This year’s lineup proves that whether you crave glittering pop anthems or brooding gothic rock, there is an invitation for every taste.

    The festival kicks off with a dazzling mix, bringing established giants like Zara Larsson alongside artists such as Kneecap and David Byrne, ensuring the stage is already buzzing with high-energy, art-pop brilliance. But the true magic unfolds when the mood shifts, allowing deeper, more atmospheric sounds to take center stage.

    As the days progressed, the energy evolved dramatically. One moment you are swept up by the infectious pop of Jennie, Jade, Addison Rae, and PinkPantheress, and the next, the soundscape plunges into something far more intense. On Friday, for instance, The Cure returned to Poland, not just as musicians, but as architects of magnificent misery, dragging thousands of fans into a celebration of brooding emo rock.

    The sheer emotional weight carried by bands like The Cure, Slowdive, and Ethel Cain provided the soundtrack for a truly unforgettable experience. While some observers noted the dramatic interplay between light and shadow—even when the rain fell—the performances offered potent catharsis. It was a masterclass in making heartache feel euphoric.

    Ethel Cain, who has carved out a unique space with her fantastical gothic narratives, delivered a powerful showcase at Open’er. During her hour-long set, she didn’t just perform; she commanded the massive Tent Stage. With breakout hits like American Teenager, she provided an ‘80s synth-pop coming-of-age anthem that fueled a huge, joyous singalong.

    Her performance blended experimental soundscapes with deeply emotional tracks from her recent work, offering fans both devastating heartache and shimmering escapism. Whether diving into the dark atmosphere of Perverts or embracing the hopeful melody of Willoughby Tucker, Cain proved that art can be both painful and profoundly uplifting.

    Meanwhile, the dream-pop icons, Slowdive and The Cure, continued to weave a tapestry of sound. Their presence reminded attendees that even in moments of high energy, there is room for beautifully textured melancholy. Their sets were less about mood and more about sonic wizardry, melting into an atmosphere where ‘Catch The Breeze‘ felt like a fire in limbo.

    Adding another layer of electrifying joy was the emergence of experimental noise rock from Just Mustard. Their performance on the Flow Stage brought an abrasive beauty to the festival, demonstrating how jagged, angular sounds can coalesce into something undeniably beautiful and cathartic. They injected raw energy into the festival, proving that loud, messy music can be powerfully inclusive.

    Ultimately, Open’er Festival is more than just a collection of concerts; it’s a vibrant testament to musical diversity. It is a space where the darkness of goth rock meets the shimmer of pop, and experimental noise finds its voice alongside classic dream-pop. The result is an intensely inclusive party atmosphere that leaves everyone feeling connected by the sheer, unforgettable power of music.

    Credit: NME

  • The Cure play deep cuts and fan favourites during Open’er Festival 2026 headline set

    The Open’er Festival, known for its diverse and expansive lineup, delivered a memorable performance on July 3 when the gothic legends The Cure took center stage. Headlining the third day of the festival, the band offered fans a captivating journey through their vast catalog, expertly weaving together rare deep cuts and beloved anthems.

    The set was less a simple concert and more an immersive retrospective. During their two-and-a-half hour headline performance, The Cure pulled out tracks that rarely see the light of day, offering a fascinating glimpse into their history. Singer Robert Smith, known for his poetic approach to music, shared insights into this mood. “The next song is one that we don’t play that much,” Smith noted, setting a tone that suggested an intimate connection with the audience.

    This exploratory approach was evident as the band dove into experimental territory. The performance featured chamber rock ballads inspired by poetry and atmospheric shifts that reflected the emotional depth of their work. The dynamic range was striking, moving effortlessly between melancholic introspection and upbeat energy.

    Beyond the deep cuts, the set was packed with fan-favorites that brought the festival crowd into a collective celebration. Hits like ‘Trust’, ‘Charlotte Sometimes’, and ‘Prayers For Rain’ were re-introduced, reminding attendees of The Cure’s enduring appeal across generations. Smith even joked about the unexpected weather, remarking that he knew they shouldn’t have played ‘Prayers For Rain’ when it started to rain during their final minutes on stage.

    The full performance was a carefully curated timeline, moving through moods and eras. The setlist featured everything from light pop segments like ‘Push’ and ‘Just Like Heaven’ to earlier proto-goth tracks such as ‘Play For Today’ and ‘A Forest’. It culminated in an iconic encore featuring upbeat classics like ‘The Walk’, ‘The Lovecats’, and ‘Friday I’m In Love’, providing a perfect burst of celebratory energy.

    The resulting performance was a masterclass in balancing history with immediacy, proving that The Cure remains a potent force capable of delivering both haunting beauty and infectious joy to any festival stage.

    Credit: NME