The last time Agnetha Falkstog, Björn Ulvaeus, Benny Andersson and Anni-Frid Lyngstad played a live show in London, it was 1979. For decades it did not seem ...
It is pure “grab your friends, sing into their faces, shimmy in the aisles” joy and for three minutes it feels like everything in the world is going right. The best three minutes of my own life come towards the end of the show when that familiar glissando signals the beginning of “Dancing Queen”, a song that I have never not known. It is a relief when the avatars themselves acknowledge the strangeness of their existence. Like the mosquito preserved in amber, the “Abbatars” both are and are not of this time; four people captured in a lost youth and transposed to a new millennium. Some of the avatars’ shortfalls are made up for, too, by the lightshow – this is a spectacle that would be worth experiencing even without the band there. There’s no denying that it is absolutely brilliant to be in a room full of people with Abba songs on very loud.
Four virtual ABBA members, or ABBAtars, performed the premiere of their Voyage concert experience in a specially built arena in east London, and looked so ...
They did most of the hits, of course, and the best two from last year’s surprise comeback album. Could that truly be Keira Knightley, Jarvis Cocker and Sadiq Khan elsewhere in the audience? Was that really the King and Queen of Sweden sitting behind me?
LONDON (AP) — “ABBA Voyage” is certainly a trip. Four decades after the Swedish pop supergroup last performed live, audiences can once again see ABBA ...
Producers bill the show as “revolutionary.” Time will tell. “That’s the fantastic thing.” "But now we are taking revenge.” They were in the audience, though. It's a fusion of tribute act and 3D concert movie that transcends that description. LONDON (AP) — “ABBA Voyage” is certainly a trip.
Members of ABBA, from left, Bjorn Ulvaeus, Agnetha Faltskog, Anni-Frid · Sweden's King Carl Gustaf and Queen Silvia arrive for the ABBA Voyage concert.
Producers bill the show as “revolutionary”. Time will tell. “That’s the fantastic thing”. "But now we are taking revenge”. They were in the audience, though. It's a fusion of tribute act and 3D concert movie that transcends that description. The Times of London reviewer Will Hodgkinson judged the show “essentially an ABBA singalong with added sound and light show”, though he called the effect “captivating”. Writing in The Guardian, Alexis Petridis called the concert “jaw-dropping” and said “it’s so successful that it’s hard not to imagine other artists following suit”.
Lifelike 'Abbatars' take showbiz illusionism to new heights with virtual concert in London.
The iconic Swedish pop stars attended the premiere of the show on Thursday (26MAY2022) night at the specially made ABBA Arena on Pudding Mill Lane in London.
We would like to hear your thoughts about Abba's new concerts in which the band performs via digital avatars.
You can get in touch by filling in the form below. How do you feel about the return of the band? “By the time the show hits its finale with Thank You for the Music followed by Dancing Queen, any lingering sense that you’re not actually in the presence of Abba has dissolved.”
The iconic pop group, Agnetha Faltskog, 72, Benny Andersson, 75, Bjorn Ulvaeus, 77, and Anni-Frid 'Frida' Lyngstad, 76, opened their long-awaited digital ...
Performing their much-loved hits like "Mamma Mia!" and "Dancing Queen", Swedish supergroup ABBA returned to the stage on Thursday, albeit as digital avatars ...
It goes right into your heart." Their last performance together was some 40 years ago. "It is so nice to see all the faces and all the expectations and everything.
The Swedish superstars — or digital versions of them, at least — performed on Thursday to 3000 enthusiastic fans with the help of 140 animators, ...
Ulvaeus said he wouldn’t be surprised if some of the group’s contemporaries consider a similar undertaking: “If they ask me for advice, of course, I would say, ‘It takes a long time and it’s very expensive.’” “I felt very emotional at certain times during that performance, which I’m calling a performance but it wasn’t — it was a projection,” he said. “I was scared what I would find underneath,” Ulvaeus said.) Lyngstad had just had hip surgery and was using a cane. The group needed to get creative because Faltskog and Lyngstad had made it clear that they didn’t “want to go on the road,” Andersson told The New York Times in 2021. Around 2016, Simon Fuller, the producer behind the “Idol” franchise and the Spice Girls, suggested a show starring a 3-D version of the group “singing” while backed by a live band. The idea started around 2014, Gisla said, when she was brought in to help make music videos for the band involving digital avatars, a process that was “a total nightmare,” she said. During test shoots in fall 2019, the group’s male members “leapt in with no qualms,” Ben Morris, I.L.M.’s creative director, said. “We kissed a lot of frogs,” Gisla said. For the stadium disco of “ Summer Night City,” it appeared in pyramids made of dazzling light, with the rings of Saturn twirling in the background. For the Spanish-tinged “ Chiquitita,” the group sang in front of a solar eclipse. As a synthesizer blared and lights pulsed, the singer Anni-Frid Lyngstad twirled her arms skyward, unveiling a huge cape decorated with gold and fire red feathers, while she sang the slow-burn disco of “ The Visitors.” Benny Andersson, poised at his synth, grinned like he couldn’t believe he was onstage again. The audience — some already out of their seats dancing, glasses of rosé prosecco in hand — laughed because the comment went straight to the heart of the event.
Selling tickets to online video-streams of live gigs has become standard. Online gaming platforms are experimenting with hybrid music-gaming experiences.
Digitally capturing the band-members reminded him of the “19th-century idea of a camera sucking out your soul…That’s exactly what we did.” He has come to think of the Abbatars as individuals in their own right: a “combination of them being abba and them being themselves…A ghost in the machine.” Whoever or whatever they are, the troupers, immortalised in 120 terabytes, are destined to go on entertaining new audiences, frozen for ever in 1979. Ludvig Andersson, Benny’s son and a producer of the show, is also trying to wrap his mind around the experience of working alongside a recreation of his 33-year-old father. The proof of the show’s persuasiveness came at the end of the premiere when, after a closing rendition of “The Winner Takes It All”, the Abbatars departed and the real abba members came on stage to take a bow. A quarter of the tickets have been bought by fans overseas. It was a final trick on the audience: the “real” band-members were another illusion. These varied formats and technologies hold out the tantalising prospect for fans—and concert promoters—of more opportunities to see artists perform. The band members spent five weeks performing on a stage in Stockholm, in front of 160 cameras operated by Industrial Light and Magic, a visual-effects company that has previously brought to life Jedi knights and Avengers. Thursday night and the lights are low, as the four members of abba, one of the most successful musical acts in history, take to the stage for the first time in nearly 40 years. Already, Whitney Houston, who died in 2012, performs six nights a week in a Las Vegas hotel, in what the show’s organisers describe as “holographic” form. The number of live streams fell by about half last year, as life got back to normal. Yet the singers are computer-generated illusions, captured as they looked in 1979, and their voices a blend of recordings from nearly half a century ago. Since the relaxation of covid rules, people have returned to shows in person.
“To be or not to be, that is no longer the question,” declared ABBA co-founder and musical mastermind Benny Andersson at the start of “ABBA Voyage,” the ...
After a slow-ish start with the lesser-known songs “The Visitors” and “Hole in Your Soul,” the set delivers the hits just like any ABBA tribute act. But any quibbles are drowned out by a youthful, 10 piece live band — put together by Keira Knightley’s husband, James Righton, formerly of “new rave” sensations the Klaxons — that means “S.O.S” and “Does Your Mother Know?” have rarely sounded so punchy. However, some notable classics, from “Super Trouper” to “Money, Money, Money” and “Take a Chance on Me,” are absent — smart money is surely on versions of these already being in the can for future setlist tweaks. And these avatars certainly capture ABBA’s original exuberance, minus the Jurassic tendencies that tend to blight decades-after-the-fact reunions in the real world. But then, just as when you saw the initially-somewhat-unconvincing dinosaurs in “Jurassic Park” for the first time, your eyes adjust, the willing suspension of disbelief kicks in, and they begin to feel like living, breathing musicians, rather than the product of 160 motion capture cameras and one billion computing hours by Industrial Light & Magic. Alongside him are the similarly CGI-rendered forms of his bandmates, all looking as they did — or, in truth, actually somewhat better than — they did in their ‘70s heyday.