This year, from July 17 to 20, the Globaltica Festival of World Cultures celebrated its 20th anniversary in Gdynia, in the serene glades of Kolibki Park, surrounded by magnificent trees that shield us from the noise of the busy city. What began in 2005 inside a modest city club called Ucho at that time, has, over two decades, become one of Poland’s most unique cultural events – a celebration of musical traditions from across the globe, and a place where curiosity, community, and creativity flourish.
The jubilee edition was a celebration, with artists returning after years away, with some who had been postponed due to the pandemic, and others stepping into this uniquely intimate festival space for the first time.
A Return to the Roots – and Then Into the Trees
This year edition began, fittingly, in Podwórko.art, part of Gdynia’s legendary Ucho Club, where the very first Globaltica was held in 2005. Brazilian icon Vinícius Cantuária opened the weekend of music with his new project Psychodelic Rio. But from Friday onwards, the festival moved into Kolibki Park, a lush, forested expanse where music, nature and people seem to breathe together.
Day 1: Four Bands, Four Worlds
The first full day on July 18 featured four outstanding acts – each wildly different in sound and story, but united in their intensity.
It was a perfectly warm day, cloudy, a little sunny at times, but not too hot, no rain, the kind of weather that makes you want to sit barefoot on the grass with music in your ears and nothing else on your schedule. Families came in numbers, spreading out on blankets, kids running through the trees, and some sleeping on the ground as the night arrived. The air was full of laughter, drums, and the scent of the forest. It was relaxing.
Asmâa Hamzaoui & Bnat Timbouktou opened the day with a powerful, hypnotic performance of Gnawa music, a spiritual and ancestral sound from Morocco, historically male-dominated and rarely seen in a feminine context. Asmâa, one of the first women ever recognized as a Maalema (master), led the all-female band with humility and strength. Their songs, driven by the deep pulse of the guembri and the metallic clack of qraqeb castanets, created a trance-like atmosphere. It was as if we’d been momentarily transported to a courtyard in Marrakesh.
From Morocco, we moved to Afghanistan by way of the UK, with Kefaya & Elaha Soroor. Their collaboration, based on reinterpretations of Afghan women’s songs, carried an emotional weight that was palpable. Elaha Soroor’s voice – soft and soaring – told stories of exile, rebellion, and female resistance. Blended with Kefaya’s mix of jazz, synth-rock, and post-punk, their set felt like a ritual – bold, contemporary, and deeply moving.
Then came Kíla from Ireland – a personal highlight for myself. I’ve loved Irish music since before I lived in Ireland, and my affection has only grown deeper over the years. There’s a natural joy in Irish melodies, even when the lyrics speak of struggle or loss. Kíla brought exactly that: festive spirit, deep rhythm, and the unmistakable sound of the Uilleann pipes, which I adore. The band’s connection with the audience was effortless. The crowd clapped, stomped, and danced. For a moment, Kolibki felt like Galway Bay.
I don’t know if you’ve ever been to Galway, but it’s one of those places where music spills out into the streets – it’s in the air, on every corner, played with heart and soul.
But the night belonged to Lindigo.
This band from La Réunion, who had been scheduled for Globaltica in 2020 but postponed due to the pandemic, made their long-awaited debut, and it was worth every minute of the wait. They play Maloya, the traditional ritual music of enslaved peoples, which has become a symbol of Réunion’s Creole identity. Their performance was joy incarnate. Drums thundered, voices soared, and halfway through, a band member jumped into the crowd, dancing barefoot with the audience, inviting everyone to move, to feel, to share. It was wild and after all those years photographing concerts, with some memorable ones, yet, I’ve never seen a band infuse so much happiness into a show. It was a fiesta, a shared, ecstatic memory.
And do you know the Wall of Death from metal concerts – when the crowd splits into two camps and then charges at each other? Well, during Globaltica, they created their own version: the Wall of Life. Same beginning – two groups facing off – but instead of colliding in chaos, they ran toward each other, hugged, and danced together. It was spontaneous, joyful, and perfectly captured the spirit of the festival.
Day 2: Poland, Galicia, the Balkans, and Chile Heat It Up
First came the return of Polish icons Kapela ze Wsi Warszawa (which we saw in 2021), this time collaborating with Bassałyki for a bold, dub-infused twist on their folk sound. With instruments like the hurdy-gurdy, dulcimer, and Płock fiddle mingling with deep basslines and trance-inducing rhythms, their performance was a reminder of how tradition and innovation can co-exist beautifully.
Then, the stage welcomed a legend: Mercedes Peón from Galicia, this time with her new trio project, Deixaas. Known for her groundbreaking solo show in 2010, Peón returned with a set that was even more mature, layered and emotionally rich. Her voice floated over bagpipes, electronic loops, and percussive storms. Songs about identity, gender, and memory took on physical form. Her performance felt daring, conceptual, and unforgettable.
Chico Trujillo took the stage with a tidal wave of Latin heat. Originally scheduled to perform in 2018 but halted by travel chaos, the Chilean band brought a vibrant fusion of cumbia, ska, and punk rock energy, celebrating their 25th anniversary with unmistakable flair. Their explosive brass, high-tempo rhythms, and cheeky stage presence turned Kolibki into a full-on street party. It also happen that I love brass instrument, and their energy on stage was unbelievable. The crowd responded in kind – dancing, shouting, and embracing the full spirit of the fiesta.
Boban Marković Orkestar closed out Globaltica 2025 in Park Kolibki – and they did it in spectacular fashion. With the flair of the Balkan trumpet king, Boban and his orchestra ignited the night with blistering solos, rich folk melodies, and unstoppable rhythms. Having once been crowned the best trumpeter at Serbia’s Guča Festival, Boban brought both prestige and party to Gdynia. A fitting end to a festival rooted in joy, rhythm and fiesta.
What Makes Globaltica… Globaltica?
Globaltica is truly about being open to the world. Through workshops, films, and the Social Town, the festival offers layers of context and engagement, inviting people to explore ideas, cultures, and perspectives they might not encounter otherwise. It’s a blend of open minds, joy, positive energy, and total chill – all flowing together in a way that feels completely natural.
It is also a very family friendly festival; children are genuinely welcome. There’s a dedicated kids’ area, yes, but in truth, they can run, play, and laugh almost anywhere. It’s relaxed, free, and full of life.
That’s the heart of Globaltica. A place to reconnect – with music, with each other, and with the wider world that pulses in every beat, every rhythm, every shared dance. It’s a festival for fun, for discovery, for a perfect summer weekend with the whole family. A place where people truly smile and enjoy the moment.
And after 20 years, it hasn’t lost a bit of its original spirit.
