She revealed her age to the crowd as 81. For an instant, it nearly came across as fact because of how casual and humorously dry the delivery was. Agnieszka Kołodziejska had actually just celebrated her 46th birthday. The seasoned radio host was in the middle of a change in early 2024, walking straight in front of the camera after almost 20 years in the studio. There was more to that age joke than just amusement. The idea that women should always demonstrate that they are younger, fresher, and newer was subtly resisted. That’s not the game she’s playing.
Having worked for 17 years at Radio ZET, a Polish institution, Kołodziejska’s voice had become a part of the national anthem. In late 2025, she left without much fanfare. No conflict or creative burnout headlines. Just an experienced reporter, carefully closing one chapter to begin another. She currently anchors “7.00” on Kanal Zero, a fast-paced, technologically native morning program with strong tones. In addition, she tracks the life of Polish expatriates in distant cities as host of “Polacy za granicň” on Polsat Play.
Agnieszka Kołodziejska – Key Facts
| Category | Information |
|---|---|
| Name | Agnieszka Kołodziejska |
| Age | 47 (born in 1978) |
| Origin | Łódź, Poland |
| Current Residence | Warsaw, Poland |
| Notable Roles | Radio ZET (17 years), Kanal Zero’s “7.00”, Polsat Play’s “Poles Abroad” |
| Personal Life | Never married, no children, devoted aunt, solo traveler |
| @kolodka_z_radia | |
| Language & Education | Philology graduate, University of Łódź |
| External Reference |
She doesn’t appear to be interested in trying to reinvent herself. Her seamless move into the new media environment without theatrics or forced branding is impressive. She follows her humor. Her rhythm, which is measured, instinctive, and frequently winking at itself, hasn’t altered.
She was built by Göódỹ. Her tone was influenced by that city, which is still recognizable by the remains of former industry and cobblestone streets that defy contemporary gloss. It made her resilient without being frigid, and it gave her edge without being resentful. There, she studied philology—language and literature, not media or public speaking. Her work was grounded in meaning rather than just sound because to that grounding. Additionally, it taught her the increasingly uncommon talent of listening before speaking.
She didn’t have any contacts or shortcuts when she got to Warsaw. Rather, she gained airtime through the back door: little gigs, local stations, and quick, unvarnished feedback. She gained more control over pacing, emotion, and quiet with every hour spent behind a microphone.
She spent almost twenty years on national radio after she got there. It is quite uncommon for a woman to live so long, especially in broadcast media, especially if she has not made marriage or motherhood the focal point of her existence. Despite spending years with colleague broadcaster Michał Adamiuk, Kołodziejska never got married. Both their on-air and off-air interaction felt genuine and unstaged. When it did finish, it did so in silence. No show. Time simply does what it does.
She is a childless woman. She has never apologized for her direct remarks. Rather, she welcomes a new form of intimacy. Her Instagram stories frequently feature her niece—backstage hugs, silly interactions, and genuine, unforced affection. Kołodziejska demonstrates that nurturing may exist outside of conventional scripts by clearly enjoying the role of aunt.
Her @kolodka_z_radia Instagram account isn’t a carefully managed, flawless feed. It’s a fluid blend of humorous commentary, behind-the-scenes looks, and trip photos. One day she’s hiking through the forest without makeup, and the next she’s drinking wine in Warsaw and making jokes about the insanity of live TV. Her posts have a rawness to them that comes off as incredibly honest rather than staged. She will react to remarks as if she were speaking to her neighbors rather than her admirers.
She has a tremendous passion for traveling alone. She has traveled to more than 40 countries, frequently traveling alone with a backpack and a vague plan. These influencer getaways aren’t meant to make people jealous. They are rough, detailed, and intimate. She related how, after misinterpreting a train schedule while in Georgia, she was taken in by a local couple who taught her how to play cards and fed her pickled vegetables. There are no brand tags. No sponsorships. Just a wandering woman, observing.
That recollection moved me especially because it made me realize how infrequently we see public personalities let themselves become lost, not because it was a particularly poignant movie.
Kołodziejska appears to be creating her own chronology at 47. She has not become accustomed to fixed patterns or pursued youth. Rather, she is expanding her influence—not just as a voice, but as a visible, dynamic presence in a variety of media. Her morning position on Kanal Zero capitalizes on her skills, which include her ability to change tone without appearing forced, her uncensored wit, and her ability to read quickly on complex news. Through other people’s stories, “Polacy za granicą” allows her to use her keen emotional radar to examine cultural differences, homesickness, and human resiliency.
She hasn’t flattened her cadence or covered up her natural lines, in contrast to many people who switch from radio to television. To please the camera, she hasn’t made her clothes more colorful. She merely brought the same presence forward, where it was now clearly visible. Her approach to each medium as an extension of herself—not a performance, but a dialogue—is very creative.
Her Warsaw apartment, which she proudly renovated, turned into a little digital endeavor in and of itself. She took her audience through the deserted rooms, the tumultuous paint tests, and the last plants positioned next to the window. It was openness, not design inspiration. A mature lady, piece by piece, carving out a place for herself.
She frequently returns to Łódź, even though she loves the capital. That loop, which connects the past to the present, has an almost poetic quality. She never acts as though she’s from somewhere else, and she doesn’t view the past as something to move behind.
