Justyna Steczkowska headlined the “Lato z Radiem i Telewizją Polską” concert series in Zakopane’s Dolina Równi Krupowej this Saturday, July 4, 2026. Performing a mix of new album tracks and dance versions of hits like “Dziewczyny szamana,” Steczkowska’s high-energy set served as the focal point of the public broadcaster’s summer tour.
This isn’t just another summer gig in the mountains. When a powerhouse like Steczkowska hits a TVP stage, it’s a strategic play in the ongoing battle for domestic viewership and cultural relevance. In an era where streaming giants like Netflix and Disney+ are eating into traditional linear TV time, public broadcasters are leaning hard into “eventized” live music to keep the lights on and the audiences engaged.
The bottom line:
- The Headliner: Justyna Steczkowska dominated the Zakopane stage with a blend of new material and high-octave classics.
- The Tour: This event is part of TVP’s wider summer circuit, following a previous stop in Radom.
- The Vibe: The show featured the band Piersi, though founding member Paweł Kukiza was absent due to his current parliamentary duties.
How Steczkowska reclaimed the Zakopane spotlight
Steczkowska didn’t just sing; she commanded the space. According to reports from the event, she closed the first half of the Saturday concert by debuting two songs from her latest album. The crowd’s reaction was immediate, particularly during a dance-heavy reimagining of “Dziewczyny szamana,” where the singer actively engaged the audience in a sing-along.
But here is the kicker: the digital footprint of the performance is where the real victory lies. On TVP’s Instagram, viewers described the set as “fire on stage,” with comments claiming she “captured” the audience both in person and through the screen. For a legacy artist, this cross-platform resonance is the gold standard for maintaining a brand that appeals to both the “boomer” TV viewer and the scrolling Gen Z demographic.
The evening was hosted by Ula Kaczyńska and Bartosz Cebeńko, ensuring the production had the polished, high-gloss feel typical of major state-sponsored broadcasts. It’s a calculated move to blend high-art vocal ability with the populist energy of a summer festival.
The business of the “Summer Tour” model
TVP’s decision to launch this summer route is a textbook example of “location-based programming.” By moving the stage from Radom—where Doda, Michał Szpak, and Kasia Stankiewicz performed—to the scenic backdrop of Zakopane, the network creates a sense of urgency and exclusivity. It transforms a standard concert into a regional event.
This strategy mirrors the broader industry shift toward “experience-driven” content. Just as Billboard has tracked the explosion of residency-style performances and curated festivals, TVP is attempting to create a “must-see” summer circuit. This helps mitigate the “subscriber churn” seen in digital platforms by offering something that cannot be replicated by an algorithm: a physical, shared cultural moment.
| Event Component | Details / Performers | Context |
|---|---|---|
| Location | Dolina Równi Krupowej, Zakopane | Strategic summer tourist hub |
| Opening Act | Piersi | Performed “Balanga” and “Całuj mnie” |
| Key Absence | Paweł Kukiza | Absent due to political role (MP) |
| Main Event | Justyna Steczkowska | New album tracks + “Dziewczyny szamana” |
Why the “Kukiza Gap” matters for the performance
The evening wasn’t without its reminders of the intersection between art and politics. The band Piersi kicked off the show, but the absence of Paweł Kukiza was a talking point. During the performance of “Całuj mnie,” band member Adam Asanov explicitly credited Kukiza as the author of the hit, noting that the singer’s current role as a member of parliament prevented his appearance.
This dynamic highlights a recurring theme in the Polish entertainment landscape: the fluid movement of talent between the stage and the Sejm. It creates a unique tension where the nostalgia of a hit song is inextricably linked to the current political identity of its creator. While Steczkowska provided the vocal fireworks, the Piersi set provided the social commentary, whether intentional or not.
From a brand perspective, Steczkowska’s ability to remain “apolitical” while delivering a massive, high-energy show allows her to act as the unifying force of the evening. She isn’t just a singer; she’s a cultural anchor in a fragmented media environment.
What this means for the 2026 concert circuit
As we look at the broader landscape, this event signals a continued investment in high-production live broadcasts to fight off the sterility of streaming. The “fire on stage” in Zakopane proves that there is still a massive appetite for the “diva” archetype—the artist who can deliver high notes and high drama simultaneously.
For the music industry, this reinforces the value of the “legacy catalog.” By updating “Dziewczyny szamana” into a dance version, Steczkowska is essentially performing a live “remix” for a new generation, a tactic used by global stars to keep their catalog valuations high in the eyes of investors and streaming platforms like Spotify.
Did Steczkowska’s high notes hit different in the mountain air, or is the magic in the nostalgia? Let us know in the comments if you think the “dance version” of the classics is the way forward for pop icons.
