Qncicka

A piano, a phone, and a Poznań room

The public record on Qncicka begins in 2026, which is unusual for an act already being written up as one of Poland's new voices. Her own biography, reproduced on Polish ticketing pages, describes someone who has sung since childhood and who wrote songs for years without letting anyone hear them. The instrument is a piano, and it is the composing tool rather than an accompaniment added afterwards: the songs are built at the keys. What changed was social media. Recordings of voice and piano, posted to TikTok, drew hundreds of thousands of views on the account @qncicka, which now carries roughly 35,000 followers. The stage name is her surname; the ticketing biography gives it as Marysia Kuncicka, while one festival press release renders it Koncicka.

The route from those clips to a stage was short, and it ran entirely through Poznań. On 15 April 2026 she recorded a NEXT SESSION at Poczta Workspace in the city, performing three of her own compositions: "bez bzu", "mięknę&więdnę" and "muzyką jestem ja". NEXT SESSION is a recording strand attached to the NEXT FEST showcase, built deliberately small — one artist, minimal production, the sound left exposed. Earlier guests in the series include babyhats, BEMY, Kasia Wilk and Mezo. Her first concert proper came at the festival itself that same month; she confirmed it from a stage in September, telling a Poznań crowd that her first show ever had happened in that city not long before.

Two singles and no album

"mięknę&więdnę" had its official premiere on 17 April 2026, two days after the Poczta Workspace session. The song deals with emotional exhaustion and the contradiction of wanting closeness while being frightened of what closeness costs. The arrangement is the arrangement she already had: voice, piano, very little else. It was received well enough online and at her first performances to become the thing every subsequent write-up leads with.

The second single, "rozlałam mleko", arrived at the end of June 2026 — three minutes and ten seconds, produced by Moo Latte, who takes a feature credit on the streaming version. It is the first time an outside producer appears on her work, and the mood shifts with it: a lighter, warmer song about leaving, freedom and declining to look back. Taken together the two releases sketch a range rather than a formula, which for a debut year is more useful than consistency.

As of early October 2026 there is no album or EP announced, and no record label is named on her own site or in her ticketing biography. What her site does point at is streaming placement — Spotify's Fresh Finds Polska, NA TOPIE and Polskie hity. The monthly listener figure on Spotify sits around 10,900, which is small in absolute terms and about right for an artist at the stage those playlists exist to serve.

The showcase circuit did the rest

Her first year has been shaped less by releases than by the Polish showcase calendar, which is a specific kind of machine. NEXT FEST's fourth edition in Poznań, where she gave that debut concert in April 2026, ran more than 120 concerts across 13 venues alongside 19 conference panels with close to 80 panellists. The organisers counted over 500 industry professionals — managers, bookers, label staff — plus more than 200 media representatives, and 18 international artists from 11 countries. A fifth edition is already set for 15–17 April 2027. For an act with one single to its name, playing inside that is a different proposition from playing a club.

Great September, held in Łódź from 10 to 12 September 2026, works on the same showcase-plus-conference model. Qncicka was programmed there on the Friday, 11 September, in a half-hour slot at Dom Literatury on ul. Roosevelta 17 — a literary house rather than a music venue, and a room that suits what she does. The festival's own billing kept the pitch on her voice and the song, with no attempt to dress the act up as something larger.

In between, on 25 August 2026, WP Kultura ran a feature on new Polish acts worth seeing live before they move into bigger rooms, and put her in it. The piece called her a young songwriter and pianist, praised the minimalist form and what it described as unusual lyrical maturity, and framed the songs as intimate diaries — personal struggle and observation, stated directly. It also flagged her Erste Letnie Brzmienia booking as a pause in an otherwise loud summer bill.

Where it stands in October 2026

Six months after her first release, the shape of the career is support slots and showcases rather than headline dates. The next confirmed show is 15 October 2026 at Klub Gwarek in Kraków, where she opens for Kajetan Wolas on his Numery z Szuflady tour. Only a handful of dates are on sale at any one time, and the diary runs in short bursts tied to festival season and other people's tours — which is the honest position for an act whose recorded catalogue is two songs long.

There is no third single announced, no album cycle, and no evidence in the public record of a label or publisher behind her. The showcase appearances are the strategy: NEXT FEST and Great September both exist to put artists in front of bookers and press, and both of hers landed inside the same six-month window. Whether that converts into a run of her own rooms is the open question going into 2027.

On stage: keys, nerves and a big voice

The clearest account of her live work comes from Erste Letnie Brzmienia in Poznań on 5 September 2026, where she played the small stage while Kacperczyk headlined the main one. Interia's review of the day called the set exceptionally intimate and chamber-like, played on keyboards alone, and noted a stage dressed to look like a lived-in front room with vintage props. She told the crowd she had recently played her first concert ever in Poznań and was glad to be back, and said she hoped the stripped-down setup would hold up.

The same review was candid about where she is: the nerves were visible and the performance was not technically clean, but the voice was strong enough to carry past that. The material leaned on ballads, including "muzyką jestem ja", and the reviewer's read was of a singer still learning the mechanics of performing in public while already having the instrument to justify the booking. The reaction described in her own and the festivals' accounts is physical rather than analytical — audiences reporting that the songs landed in the body, which she has said affected her more than anything else about the first run of shows.