How Digital Signage Helped Cancer Fighters Raise More ?

For nine days in April 2026, an online charity stream captured attention across Poland. As viewers donated amounts ranging from a few złoty to thousands, the campaign also spread far beyond YouTube: QR codes appeared in the Warsaw Metro, on urban advertising displays, inside Żabka stores and on self-service kiosks at Popeyes restaurants.

By the time the stream ended on April 26, the Cancer Fighters x Łatwogang campaign had raised more than PLN 257 million for the Cancer Fighters Foundation. It became the largest online fundraiser in Polish history, reaching a total comparable to the most recent finale of the Great Orchestra of Christmas Charity. The campaign remained open afterward, with donated-item auctions still to come.

The result demonstrated how digital out-of-home advertising, retail media and interactive restaurant displays can be mobilized quickly for a social cause. Six screen operators participated without conventional advertising contracts, client briefs or return-on-investment requirements, turning thousands of commercial displays into donation touchpoints within hours.

From a Song to a Nationwide Fundraiser

The campaign began with “Ciągle tutaj jestem (diss na raka),” translated as “I’m Still Here (Diss Against Cancer).” Rapper Bedoes 2115 recorded the song with Maja Mecan, an 11-year-old leukemia patient from Oława supported by the Cancer Fighters Foundation.

The track inverted the familiar diss-song format. Instead of targeting another performer, its lyrics confronted cancer. It spread rapidly online and established the emotional foundation for the fundraising campaign that followed.

Nine Days of Continuous Streaming

On April 17, 2026, YouTuber Piotr “Łatwogang” Hancke began a broadcast built around listening to the song for nine days while raising money for children supported by the foundation. The stream continued without interruption until April 26.

Numerous athletes, entertainers and online creators participated during the broadcast. Visitors included Robert Lewandowski, Iga Świątek, Adam Małysz, Wojciech Szczęsny, Doda, Mata, Cezary Pazura and Krzysztof Stanowski. FC Barcelona player Lamine Yamal and Coldplay frontman Chris Martin also took part indirectly.

The money raised was designated for treatment, rehabilitation and modern equipment for oncology departments across Poland.

Six Screen Networks Took the Campaign Offline

While the stream gathered momentum online, digital signage operators began showing campaign material in public and commercial spaces. Although the networks used different screen formats and reached people in different settings, each displayed the same central call to action: a QR code leading to the fundraiser.

STRÖER Polska: Metro Platforms and City Streets

STRÖER Polska, the exclusive advertising operator for the Warsaw Metro, added the campaign to subway platform screens and street displays. The company operates approximately 2,000 digital screens nationwide, in addition to tens of thousands of conventional out-of-home advertising spaces.

Metro platforms offered a particularly useful setting for the QR code. Passengers waiting for trains had time available, often already had their phones in hand and could scan the code before leaving the station. The Warsaw Metro’s high weekly passenger volume gave the campaign substantial reach despite the speed with which the placement was organized.

Screen Network: 20,000 LED Displays and a Live Total

Digital Network SA used its Screen Network of approximately 20,000 LED displays to show Cancer Fighters material in major Polish cities. Placements included locations around Warsaw Central Station and the Presidential Hotel, as well as screens in Poznań, the Tri-City and Katowice.

Selected displays went beyond showing a static appeal. They presented the QR code alongside a live-updating total of the amount raised. People passing the screens could watch the number increase as new donations arrived.

This transformed the display from a digital poster into a real-time indicator of public participation. The rising total also provided visible social proof: potential donors could immediately see that many others were contributing to the same campaign.

Jet Line: MORE Screens in Six Metropolitan Areas

Jet Line allocated inventory from its MORE digital out-of-home network to the campaign. The network operates in six major metropolitan areas: Warsaw, Kraków, Wrocław, Poznań, the Tri-City and Łódź. Its screens can also be purchased programmatically during conventional commercial campaigns.

The placements brought the fundraising appeal to busy roads, city centers and transportation hubs. They reached pedestrians and commuters during routine moments such as walking home, waiting near an intersection or pausing during a trip through the city.

AMS SMART OOH: Public-Space Displays

AMS, one of Poland’s established outdoor advertising operators, also supported the campaign through its SMART OOH network. Its screens at transit stops and other prominent urban locations displayed the Cancer Fighters QR code.

These placements expanded the campaign’s presence around public transportation and pedestrian routes. Someone who had encountered the appeal on a metro platform could see it again at a bus stop or another central city location.

Żabka Ads: More Than 1,500 Retail Screens

The campaign entered convenience stores through Żabka Ads, a retail media network launched in 2025. More than 1,500 digital screens installed across thousands of Żabka stores normally present product promotions and other commercial messages. For several days, they also showed the Cancer Fighters fundraising code.

Retail displays offered a different context from roadside or transit advertising. Customers were already waiting to pay, with phones and payment methods readily available. Scanning a code and completing a small donation could fit into the same brief period as an everyday purchase.

Popeyes Polska: Self-Service Ordering Kiosks

Popeyes was the only restaurant chain to participate through its customer-facing kiosks. The campaign’s QR code appeared on the same self-service screens guests use to place food orders.

Rather than asking people to divert their attention from another task, the placement reached them while they were already standing in front of an interactive display. It inserted the fundraising message into an established restaurant routine without requiring separate hardware or a new customer interface.

Why People Were Willing to Scan

QR codes are common in digital out-of-home campaigns, but visibility alone does not guarantee interaction. The Cancer Fighters effort combined several conditions that made scanning easier and more compelling.

The Screens Reached People While They Waited

Many of the placements appeared in environments where people naturally pause:

• Metro passengers waited on platforms for approaching trains.
• Convenience-store customers stood in checkout lines.
• Restaurant guests spent time at self-service ordering kiosks.
• Pedestrians encountered city screens while waiting at intersections or moving through transit hubs.

These moments reduced competition for attention. Instead of asking a moving audience to stop, the campaign gave an already stationary audience an immediate action to take.

Scanning Has Become Familiar Behavior

QR codes no longer require extensive instructions for most smartphone users. Their widespread use in restaurant menus, parking systems, ticket verification and payments made scanning a familiar action. The campaign could therefore focus on the reason to respond rather than explaining the underlying technology.

The Live Counter Made Participation Visible

Screen Network’s real-time donation total added urgency and collective momentum. A static message can ask people to help, but an increasing number shows that participation is already underway.

The approach resembled the live fundraising totals used during televised charity events. Each update reinforced the idea that an individual donation would become part of a much larger public effort.

How the Digital Signage Technology Worked

Each participating operator managed the campaign through its own content management system. Centralized control allowed creative material to be replaced or added across large groups of screens in hours rather than through a lengthy physical deployment process.

For standard placements, the content management systems distributed graphics containing the campaign message and QR code. The code directed smartphone users to the fundraising flow, where payments were handled by the fundraising platform in cooperation with the Cancer Fighters Foundation.

The live counter required an additional data connection. Selected displays retrieved the current fundraising total from an external source and incorporated it into the screen layout. This type of integration commonly uses an application programming interface to connect a digital signage content management system with changing data.

The same technical model can power weather information, currency rates or sports scores. In this case, it kept the donation amount current and synchronized the physical screen network with activity taking place online.

A Rapid, Noncommercial Industry Response

The campaign did not follow the standard process for buying nationwide advertising inventory. STRÖER Polska, Screen Network, Jet Line, AMS SMART OOH, Żabka Polska and Popeyes Polska made their screens available without conventional advertising agreements or guaranteed commercial returns.

Decisions were made as the fundraiser was rapidly gaining attention, compressing work that might ordinarily involve briefing, planning, contracting and creative preparation. The operators’ existing content management systems made the accelerated deployment technically possible, but participation still depended on each company choosing to contribute its inventory.

The result was a coordinated presence across six distinct categories of screens:

• Metro platform displays
• Large-format urban LED screens
• Roadside and transit-hub DOOH networks
• Public-space and bus-stop displays
• In-store retail media screens
• Restaurant self-service kiosks

Together, these networks connected a digital-first fundraiser with everyday physical environments across Poland. The campaign showed that digital signage can do more than extend the reach of a message: with QR codes, real-time data and rapid content distribution, it can provide a direct path from public awareness to measurable action.

What Happened After the Stream

Łatwogang’s continuous broadcast concluded on April 26, 2026, but the end of the stream did not close the broader fundraising effort. Donations could continue through the Cancer Fighters Foundation’s fundraising profile and official campaign site, and auctions of donated items were expected to add to the total.

The foundation also continued its regular work supporting cancer patients and oncology care. The campaign’s final amount would therefore exceed the more than PLN 257 million recorded during the nine-day stream.