Guzior

Wrocław, 2012, and a track called Prawie północ

Guzior is Mateusz Bluza, born on 16 July 1992 in Wrocław. His recording career has a firm starting point: on 29 August 2012 he posted a track called Prawie północ to YouTube, which is the date Polish reference sources still treat as the beginning. What followed was not a rapid ascent. Three years passed before the mixtape ylloM appeared on 15 June 2015, and another year and a half before anything resembling a proper album.

That gap set a pattern he has never really broken. Guzior works slowly, releases rarely, and lets the silence between records do part of the promotional work. Polish ticketing copy tends to reach for the same description of his delivery — unhurried, slightly behind the beat, closer to muttering than to shouting — and it is an accurate enough shorthand for why his records reward repeat listening more than they reward radio.

He came up around the QueQuality label, the Warsaw-centred outfit built around Quebonafide, and his early collaborators read like a map of the Polish scene at that moment: Quebonafide, Deys, ReTo, Szpaku.

Two albums, two number ones

Evil Twin arrived on 24 February 2017 and went straight to the top of the OLiS sales chart, shifting more than 15,000 copies for a gold certification. For a debut from an artist with one mixtape behind him, that was a disproportionate result, and it established the commercial fact that has held ever since: Guzior's audience buys, rather than merely streams.

Evil_Things followed on 8 June 2018, also at number one, and went to double platinum on sales past 60,000. The two records are conceptually linked by title and by the corporate identity he built around them — EVILTWINcorp. remains one of the imprints attached to his catalogue alongside QueQuality.

Then came the longest silence of his career to that point, and the record that changed his commercial ceiling entirely.

Pleśń and the streaming numbers

Pleśń landed in 2020 and reached number one, and it is the album that carries Guzior's diamond certification — the highest sales award in Poland — on reported sales past 150,000. By mid-January 2021, barely a month after release, it was the most-played album on Spotify in Poland, with Blueberry, Fala and Trapstar all sitting inside the platform's national top 50 at the same time. Blueberry had passed 20 million YouTube views within a month of release.

Fala, made with Oskar83 and produced by Bero, became the record's centre of gravity. Released in October 2020, it was certified double diamond in Poland, and by 2023 had passed 90 million views on YouTube and 60 million plays on Spotify. Those are not normal figures for a rapper whose default register is a mumble over a half-speed beat.

Fala also spawned Fala (Sequel), and the two versions now appear in his live sets with near-equal frequency — a rare case of a sequel earning its own slot rather than replacing the original.

G, the gap, and a move to Universal

G appeared on 24 May 2024 after more than three years without an album, took the number one spot again and went platinum on sales past 30,000. Strzelam petem and Hill Bomb were the singles that did the heaviest lifting. It was a fourth consecutive chart-topper and a fourth consecutive certification, which puts Guzior in a very small group of Polish rap acts with an unbroken record of that kind.

The more consequential change was structural. Stacja Widmo is being released through Universal Music Polska and Def Jam Recordings Polska rather than the QueQuality apparatus that carried the first four albums — a move that came with a full press operation, a preorder campaign and a Live Nation-ticketed tour, none of which were features of his earlier rollouts.

Stacja Widmo, three months late

The fifth album was announced for 26 June 2026 and did not appear. It slipped through the summer while Guzior worked festivals — Wawa Student Festiwal in Warsaw on 29 May, Kortowiada in Olsztyn and Gdynia's Molo Południowe on 30 May, Before Festival in Siedlce on 21 June, Polish Hip-Hop Festival in Płock on 3 July — and finally arrived on streaming platforms on 18 September 2026.

It runs to eleven tracks: A teraz, Biegnę, Jak się mam, Wakey Bakey, Pusher, Edynburg, R'N'B, Przy sonecie, Monopoly, Papirus and Stabilny grunt. There are only two guests on the whole record — Bejbi on Jak się mam and Kosma Król on Monopoly — which is restrained by the standards of the current Polish scene, where a mid-tier album routinely carries six or seven features. Production comes from Gmeniu, ADZ and Leśny alongside the less established Cappa and Kania. R'N'B was pushed as the single around release.

The album is built around a single idea rather than a run of singles: a night journey through empty, desert-like space, carried through the sound and the artwork together. The cover and the CD packaging come from a hand-painted work by Piotr Kabat, and the label has been explicit that the visual identity and the music were designed as one object. Guzior's own framing of it is that the record stays recognisably his without locking itself into one sonic register — heavier, hypnotic tracks sitting next to more melodic ones.

Where he stands, and what the room gets

The Stacja Widmo Tour is six shows, all in Poland, all club-sized rather than arena-sized: Zabrze's CK Wiatrak on 10 October 2026, Klub Studio in Kraków on 16 October, Centrum Koncertowe A2 in his home city of Wrocław on 17 October, B90 in Gdańsk on 24 October, Tama in Poznań on 28 November and Progresja in Warsaw as the closer on 4 December. The five-week gap between Gdańsk and Poznań is unusual and unexplained; the routing is not a conventional consecutive run.

Choosing rooms of that size after four number-one albums is a decision, not a constraint. Guzior's headline sets have historically been short and unadorned, and the venues suit that. The material from Pleśń remains the spine of the live show: setlist data collected by fans puts Blueberry as his most-played song, followed by Płuca zlepione topami, then Fala, Fala (Sequel) and Trapstar in a near tie, with WTC close behind. Roughly thirty songs have been logged across his tracked performances, which is a small working repertoire and consistent with an artist who releases an album every two to four years.

The one recurring complaint in the fan record is duration. A review of his December 2021 club show at Lizard King in Toruń, supported by Marcin Adamowicz, clocked the set at around an hour and quoted an attendee who felt short-changed on the ticket price, with others disappointed at how little of the then-new Pleśń material made the cut. Whether an eleven-track album with a stated concept changes that arithmetic is the open question of the autumn run.