The final two days of the Enter Enea Festival 2026, at Lake Strzeszyńskie, Poznań, June 2–3, 2026
The third day of the festival was all about the big names, but each concert left a completely different impression on me.
Sullivan Fortner was relieved that the pollen had finally stopped flying, so his allergies had calmed down a bit and he could present his solo performance to us. He hesitated for a moment about what to open with, but eventually settled on Stevie Wonder’s Don’t You Worry ’bout a Thing. He played a few more covers and, before inviting Leszek Możdżer on stage, even managed to perform his own Snakes and Letters. I have to admit that although it sounded nice, unfortunately I couldn’t fully immerse myself in it—the music just flowed pleasantly around me until Leszek arrived on stage and they launched into Chopin’s Mazurka together. A slow start to the festival day…
Unfortunately, Kinga Głyk didn’t really capture my attention either—at least not until Leszek reappeared on stage. He delivered a beautifully improvised intro, and the song (I think it was called Dream) had a very contemplative vibe. Kinga shifted from her previous slap-style playing to a soulful fingerstyle, and overall, I enjoyed it much more. For the next song, Leszek switched from the piano to a Fender Rhodes and launched into another electric jam with Kinga’s band before taking his leave. This brought us back to a pleasant fusion vibe that, while not offensive, didn’t particularly thrill me either. The finale of the performance was a classic funky crowd-pleaser, with the audience joining in with shouts of “hey.”
Fortunately, however, the highlight of the evening was still to come. Stanley Clarke had arrived in Poznań and proved that he’s still in phenomenal form. It was clear from the start who the king of the evening was, and the previous performances paled in comparison. So what if he hasn’t released anything new in over fifteen years? He was a member of Return to Forever, and he can draw on that for the rest of his life. And besides, when he delivers it like this, there’s absolutely no doubt about it. The concert kicked off with a bang with Beyond the Seventh Galaxy, and the very first solos had us all glued to our seats. Violinist Evan Garr put on such a frenzied performance that his instrument was practically smoking, and saxophonist Emilio Modeste was right there with him, matching him step for step. Then it was Stanley’s turn, with his signature, unmistakable slap bass technique. When drummer Jeremiah Collier joined in, it was simply a blast. The energy Clarke possesses is incredible—he plays like a demon and has perhaps more vigor than many young musicians. Of course, his biggest hit, School Days, couldn’t be missing, and when it came time for No Mystery (also from Return to Forever), I was trembling with delight. It was the kind of concert where you leave feeling like you’ve witnessed real musical history in its most vivid form.
On the fourth day of the festival, the weather wasn’t on our side, and the rain drove us indoors. At times, getting a view of the stage was more of a struggle to see anything at all through the umbrellas and raincoats. Despite these unfavorable conditions, the concerts went on as planned, and the festival grounds remained completely packed.
Kacper Smoliński Sospeso was the first to perform. They performed pleasant, very melodic music where jazz met strings. At times it felt almost sweet, as if we were listening to the soundtrack of some epic film. For this rainy evening, it was essentially the perfect background music; while I didn’t give it my full attention, its mood kept me entertained.
Next up was the Andrés Barrios Quartet with their flamenco piano music. It was very lively and energetic, though I personally regret that, due to the rain and limited visibility, I couldn’t fully enjoy the dancer, who was an integral part of the performance. It was great to hear the passion and rhythm, but I didn’t get any visual enjoyment out of it.
The main highlight of the evening was the Piano Operatio project, featuring Gloria Campaner, Emil Reinert, Valeria Fasiello, and, of course, Leszek Możdżer. It was fascinating to watch them take turns at the four pianos set up on stage, gradually weaving their parts together. Gloria began with Chopin, and Leszek then joined her in Asturias—the dialogue between the two pianos had incredible power. Then Gloria joined the orchestra, and the concert culminated in a joint performance by all four pianists, first with a piece by Bach—a technical delight—and culminating in Ravel’s Boléro, where child drummers joined the pianos at the end. Perhaps a bit unnecessarily opulent, but a pleasant conclusion to the entire festival.
The Enter Enea Festival 2026 once again proved to be exceptional. The program was superb, the lakeside setting was beautiful, the sound was crystal clear, and the organization was flawless. The music reminded us once again that its true language is emotion, freedom, and universality. We look forward to seeing you again in the future!
Štítky