ABBA Voyage - Oxford Metrics

Thank you for the music: how will live concerts evolve in the Augmented Age?

Oct 17, 2022

Nick Bolton, CEO, discusses how live concerts could evolve in the

17 October 2022 - Digital transformation is impacting almost every dimension of our world and the live music industry is no exception. The innovative adoption of motion capture technology has enabled the realisation of cutting edge, creative ideas and developments for live performances.

The live concert industry has always been quick to adopt technological change - just look at how virtual performances have evolved from the first experimentations by South Korean boy band H.O.T., to the critically acclaimed ABBA Voyage Experience. It was back in 1998 when H.O.T. became the first to experiment with holographic performances, aiming to appear in multiple locations at once on their world tour. The technology continued to develop so that 2Pac could appear posthumously with his holographic appearance at Coachella 2012, where one video of the performance amassed over 57 million views on YouTubei, his album sales increased 500% and downloads of his song 'Hail Mary' rose 1,500%ii. Not only this, but a 2015 live music video performance by Japanese pop group, Perfume at SXSW, which seamlessly combined live footage of the trio performing with motion captured 3D avatars, was described by Wired as an “ecstatic vision beamed back from a future in which the physical and digital have converged to the point of being utterly indistinguishable”iii - truly the blurring of the physical and virtual worlds.

Concerts are now being performed by avatars of the musicians, to critical acclaim. The best example of this in action is the ABBA Voyage experience.

The momentum was building for augmented projects. The announcement of Elton John’s Farewell Yellow Brick Road tour with a virtual reality experience in 2018, showed key moments over his 50-year career. To create a true to life performance, Elton was motion captured by Vicon customer, House of Moves, ensuring the moves of ‘digital Elton’ stayed trueiv. The Farewell Yellow Brick Road tour announcement and the ABBA Voyage Experience were both underway before 2020. However, the outbreak of the coronavirus pandemic accelerated musicians’ readiness, and indeed, the readiness of fans, to embrace this technology on a wider scale, moving the industry into the next era.

As we move into the Augmented Age, where machines and humans partner to achieve what neither can do alone, concerts are now being performed by avatars of the musicians, to critical acclaim. The best example of this in action is the ABBA Voyage experience. The band members, Agnetha, Anni-Frid, Benny, and Björn, were tracked using motion capture as they performed their set to perfection over the course of five weeks. The motion measurement sensors and software captured every idiosyncrasy, every mannerism, emotion, enabling Vicon customer, Industrial Light & Magicv to merge the physical and the digital and create the band just as they performed in 1979, not as hollow images, but avatars, virtual twins of the artists, complete with the performers’ real essence and emotions.

A study conducted by Middlesex University reported that 95% of fans surveyed said that emotional engagement from the artist during live stream concerts is important to themvi. The commercial and critical success of the ABBA Voyage experience is testament to the fact that this emotional engagement has been achieved, with motion measurement technology at the very core of the operation.

We are already seeing consumers embrace this digital format in the live music industry, as the possibilities enabled by motion measurement begin to crystallise. Now, what leaps out is the potential longevity of these augmented concerts. Virtual concerts allow concertgoers to experience the greatest performances of their favourite bands and musicians, past and present. The performance possibilities are truly exciting, as we have seen with ABBA, bands like the Rolling Stones can be immortalised, even Oasis could be reunited onstage. The sense and analysis capabilities which form the backbone of these projects are there, how they will be applied to transform the future of the live concert industry will be determined by the imaginations and creative genius of the digital artists, technicians, and performers. What once seemed a possibility in the distant future is now being realised before our eyes in the Augmented Age of the present, enabled by developments in motion measurement technology.

i YouTube, Tupac Hologram Snoop Dogg and Dr. Dre Perform Coachella Live 2012, 18 April 2012

ii Digital Domain, Virtual Tupac

iii Wired, Hot Damn, This Concert Is Straight Out of the Future, 23 March 2015

iv fxguide, Digital VR Elton, 28 January 2018

v YouTube, ABBA Voyage: The Journey Is About To Begin, 2021

vi King’s College London, Research finds live streamed concerts are here to stay post-pandemic, 14 May 2021

https://oxfordmetrics.com/news/2022-10-17/thank-you-for-the-music-how-will-live-concerts-evolve-in-the-augmented-age

*****************************************

jun 2023

https://www.youtube.com/watch?v=aop4_g8o6V8

************************************************

U.K. time travel, from Oxford dons to ABBAtars

By Arnie Weissmann |Nov 15, 2023|

Arnie Weissmann

Travel Weekly has reported extensively how AI may impact travel planning and booking. On a trip to the U.K. this month, I looked at how it's affecting tourism experiences, as well.

Seeking a little contrast, I divided time between tradition-bound enclaves and some attractions whose foundation was frontline technology.

To American eyes, the U.K. is particularly rich with tradition, and I could think of fewer places near London that revel in custom more than Cambridge and Oxford. I planned daytrips to each.

In Cambridge, I met up with John Shears. He's an authority in a certain realm of past English endeavors -- polar exploration -- but also recently employed highly advanced technology as expedition leader of the mission that found Antarctic explorer Ernest Shackleton's ship, Endurance, in the depths of the Weddell Sea last year.

We arranged to meet at Cambridge's Scott Polar Research Institute, named for the Antarctic explorer Robert Falcon Scott, at precisely 10:30 a.m. The timing was not coincidental; that's when, each morning, a ship's bell is rung and the staff gathers for tea or coffee. While this custom (minus the ship's bell) was routine in American institutions in the not-too-distant past, it has been more recently cast aside in favor of a quick Starbucks run. The 10:30 gathering of colleagues at the institute seemed a curiously quaint and quintessentially British ritual.

As we wandered through the institute's multistory library containing thousands of volumes related to polar exploration, many old and rare, I didn't see a computer in sight. Was the collection digitized? I asked. It has not been.

Although the library requires permission to enter, the building also houses a small museum visited by 50,000 people annually. Even before going in, one walks past a sculpture created by Scott's widow, Kathleen, then enters beneath a bust of Shackleton into a small hall embedded with architectural details related to exploration in the arctic regions. The museum is polar-nerd heaven.

That night, back in London, my inner tech nerd -- or, I guess, just nerd -- emerged. I had bought a ticket for "ABBA Voyage," a somewhat disorienting journey into an almost purely artificial world. In a purpose-built theater, ABBA Arena, the 1970s Swedish pop group gives a 90-minute concert without any members of the group actually present.

The groups' four members come alive, seemingly human-size and in three dimensions, on densely pixilated LED screens, their movements in sync with enhanced concert footage displayed on giant screens. The entire experience is not unlike a typical arena concert. A creative 360-degree light show augments the songs. The effect is surreal, but real enough that the audience applauds and even stomps its feet for an encore, which it gets. I wasn't sure which was more mystifying, the onstage "ABBAtars" or the audience.

The next day, another friend, a professor at Oxford, walked me through Jesus College, whose centuries-old chambers seemed straight out of a "Harry Potter" book. Among the items displayed in its library is T.E. Lawrence's (Lawrence of Arabia) dissertation on Middle Eastern military architecture, complete with penciled notes in the margins. Although the tour represented submergence in another era, it was a familiar reality, requiring less cognitive adjustment than the interior of ABBA Arena.



Inside the "Beyond Reality" gallery at London's Frameless experience. Photo Credit: Arnie Weissmann

From there, back to London and "Frameless," a permanent art exhibit with no paintings or sculptures. It's a series of galleries, each featuring a different artistic genre. It's among the growing collection of attractions described as "immersive," from Las Vegas' new Sphere to the city's ever-expanding Area 15 complex.

"Frameless" is a technological and design marvel. It has four thematic galleries that together animate 42 paintings. The galleries have no wasted space, with floors, walls and sometimes ceilings becoming the canvas for moving, and occasionally interactive, imagery.

The collected art passes through you rather than the other way around. Images flow, dissolve, throb and explode. In one gallery, after a wall-size masterpiece shatters into shards on the floor, you can kick the debris, scattering flakes of colored light like autumn leaves as you move.

Princess Cruises' president, John Padgett, speaking at the Phocuswright Conference this week, said technology should be employed as a facilitator of personalized, up-to-the-moment experiences at scale. Technology is not the point, he said. Experience is.

I did unsuccessfully inquire whether "Frameless" employed AI, but the platform is beside the point: The technology behind both "ABBA Voyage" and "Frameless" can't be separated from the wow factor. The experience of cutting-edge innovation becomes part of the story that's repeated. I doubt Padgett would be upset if guests returning from a Princess cruise weave the high-tech wonders of the Ocean Medallion into their vacation tales.

Immersive experiences will not overcome interest in tradition and the past, whose remnants, still in use or dormant, often reflect earlier stages of trailblazing technology. Whether examining Shackleton's self-designed boots or seeing the clock turned back on Agnetha, Benny, Bjorn and Anni-Frid, technology and experience have become inseparable. 

https://www.travelweekly.com/Arnie-Weissmann/UK-time-travel-from-Oxford-dons-to-Abbatars

ABBA VOYAGE 1-Year Anniversary

 

--------------------------------------------------------------

Steve Jacks video

Photo ABBA Voyage

video ABBA Voyage

https://www.youtube.com/watch?v=Bed5oIYHRUU

https://www.youtube.com/watch?v=2UARb-wGA0U

https://www.youtube.com/watch?v=nQxRpo3laLA

abba Voyage phot0

---------------------------------

photo on twitter 

@Anjay89006318

before  Concert

 photo on Twitter @KaarinG

---------

abba voyage photos

-----------------------------------

photo Richard Mustonen-smith 

---

may 27th, 2023

Photo Mark Simons...

-----

Photo Svana Gisla

update photo 28 05 2023

---------

Photo ABBA Voyage

Photo ABBA Voyage

Photo ABBA Voyage

Photo ABBA Voyage

Photo ABBA Voyage

Photo ABBA Voyage

foto abbaregistro

--------------------------

ABBATARS

Photo ABBA Voyage

Photo ABBA Voyage

--------------------------------------------------

 30 May 2023 11:31 AM

Björn Ulvaeus on one year of ABBA Voyage: ‘It’s blown my mind!’

Voulez-Vous! To mark a year since ABBA Voyage first launched in East London, Björn Ulvaeus sits down to tell Rolling Stone UK all about the journey so far.

By Nick Reilly



Bjorn Ulvaeus of ABBA (Picture: Alamy)

As ABBA celebrate the one year anniversary of their game-changing Voyage show, Björn Ulvaeus has opened up to Rolling Stone UK about the show’s huge success, and how game-changing developments in technology could allow it to evolve and adapt long into the future.

Ulvaeus and bandmates Benny Andersson and Anni-Frid Lyngstad were all in attendance at East London’s ABBA Arena last Saturday (May 27th), to mark a year since the show’s arrival – which was first hailed by Rolling Stone UK as a ‘jaw dropping spectacle’.

The pioneering performance sees audiences greeted by CGI representations (ABBA-tars) of the Swedish pop icons, which are based on their motion-tracked movements. They are presented to appear like a representation of the group in their ’70s pomp, with their performance backed by a live band that is present in the room every night.

The show’s huge success has now allowed fans to dream that a legion of classic bands could rise from the musical graveyard once again – even if Björn believes it’s not quite that simple.

“I am pretty sure that among my contemporaries, a lot of people are talking about it,” he tells Rolling Stone UK.

“They’re wondering if they can do something like this and so I am really curious to see who comes next and what they can come up with, because it’s just too expensive to do a copy of it. You need to do something unique and it’s going to be so exciting to see who will come next.”

You can read our full Q&A with Björn below, as he waxes lyrical on the future of Voyage, AI and 50 years of Eurovision.

Hi, Bjorn! How are things?

I feel good! The summer has come to Stockholm. As usual, we didn’t have a spring, it just turned to summer and it’s a great feeling. I feel good.

All the more reason to celebrate, given that ABBA Voyage has passed the one year milestone and played to over a million visitors. How has the last year been for you?

It’s been a success beyond, you know, everyone’s expectations and it’s had such impact too, because it’s such a technological milestone. Everybody says that the technology could change live music and I guess it certainly has done something to the image of ABBA. I think we’re in the front of trying to do new daring things and I think that’s good.

When you split back in 1982, did you ever envisage getting to the point where there’s a digital version of yourself performing to thousands every night?



Of course not! Back in 1982 I had just bought my first IBM PC and there was no internet, there was nothing. We had 64K RAM and that was about it. At that point I thought that ABBA might come back together and do a new album maybe, but that never happened. What’s happened to us now is just mind-boggling.

Where does the success of Voyage rank in all the endless highs and success that you’ve experienced with ABBA?

It’s very difficult to compare because somehow, for some reason, ABBA seems to have become and remained part of the fabric of popular culture through these years. So when this happened, it was a result of that fact. That so many people have found some kind of relation to our music. Everyone knows that we haven’t been around for 40 years, but the fact that people have kept listening to us is why we’ve been able to do this, and it makes it very emotional for people have seen it. It’s the enduring influence of it.

Anni-Frid Lyngstad, Björn Ulvaeus, Benny Andersson of ABBA joined by ABBA Voyage producers Svana Gisla and Ludvig Andersson, and Director Baillie Walsh (Picture: Press)

How gratifying is it to still be held in such high regard?

It’s been amazing because people used to come up for me and ask for photos because of their mother and grandmother. Nowadays, it’s completely changed. It’s parents asking for selfies because they’re telling me that their daughters won’t believe it.

We were from an era when so many bands were around and a few of them are still relevant, it’s definitely not just us. But it’s still very humbling that it has turned out the way it is.

Eurovision mania seems to be sweeping Sweden once again after Loreen won in Liverpool earlier this month. Next year’s event will coincide with 50 years since ABBA won. Any chance you guys could appear?

It might come to Stockholm again, but I won’t say anything about us being involved. It’s a typical no comment.

Going back to ABBA Voyage, were you scared of what the public reaction might be?

When the previews started, we invited people from the area, from Stratford, who don’t necessarily have any relation to ABBA but they were invited because we really wanted to be part of the community.

So we invited a lot of them to come and have a look at the first previews and it was so reassuring because they were taken by it and they absolutely were not our fans. So that was great and that was such a relief when I saw that.

As for the future of the show, is there the potential to change it and offer a switched-up set for people that want to come back and have a slightly different experience?

Yes, definitely. We used motion capture on more songs than what we have in the show. So that’s a possibility. Artificial intelligence, too, is taking quantum leaps right now so we’re carefully watching that and seeing whether some of that could be applied to Voyage.

As a songwriter yourself, what do you make of the argument that AI could threaten the future of the craft and theoretically put writers out of work?

In the beginning, I think it will be a tool. I can sort of think of ways of using an AI, like if I was going to write a tango for a musical, I could conceivably train an AI on the 100 best tangos in the world as a starter and then ask the AI to write a tango, having trained from that set. And it could well come up with something that’s not bad and you could tweak it yourself, so that the AI has given you the initial idea. That’s entirely OK and a bit like using our brains, really.

But that’s the first ten years of it and there will come a time when the AI itself can write conceivably original stuff and stuff that people won’t know if it’s come from an AI. That is going to happen.

The most important thing right now with democracy at stake and other things is that we need to learn between AIs and humans so that whoever sends a message, there should be a little box somewhere to differentiate between the two. If that could be achieved, it would be a big help.

So it’s all about learning to adapt and see how we can use it for good?

Yeah. Because I thought about that the other day, when I grew up the music I listened to back then created some kind of database and training set inside me that my own AI is working on and whenever I try to come up with something it is based on that training set of data that I have inside and have collected through the years.

Similarly, you can use an AI like that and some wonderful songs and other pieces might come from it!

Does that optimism almost explain how ABBA Voyage came to be? Are you always seeking out interesting innovations and technologies within music?

When we started recording albums with ABBA, the Beatles were our big idols and they always took daring steps, album by albums. They tried new things, not tech of course, but other new sounds. We wanted to be daring and take the next step, so yes, Voyage is part of that mindset that, that curiosity about what you actually can do when you challenge yourself.

The visitor numbers speak for themselves too, you recently personally greeted the one millionth visitor to Voyage. Have any other artists told you they want to do a similar thing now? one million visitors.

No, I haven’t spoken to anyone but I understand that there have been, you know, people my age, who have seen the show. I know that Barry Gibb was there, for instance, and other people have been there as well.

Mick Jagger spoke about Voyage at a concert in Stockholm recently too. So I am pretty sure that among my contemporaries, a lot of people are talking about it. They’re wondering if they can do something like this and so I am really curious to see who comes next and what they can come up with, because it’s just too expensive to do a copy of it. You need to do something unique and it’s going to be so exciting to see who will come next.

Baillie Walsh, who directed Voyage, recently said he believes it works so well because thankfully all four members of ABBA are still alive

That’s true, but I think technology is quickly making up for that. But there is another aspect of it, in that the ethics of it could affect its credibility. If you do something, you know, an avatar of someone who has been dead for a long time, then that credibility could well be in doubt.

I’m not saying necessarily that it will be, but of course it made it easier for us since we’re all still alive and everyone now knows that we are behind it.

Absolutely. Congratulations again Bjorn, here’s to the second year.

Yes! Thank you.

https://www.rollingstone.co.uk/music/news/bjorn-ulvaeus-one-year-of-abba-voyage-its-blown-my-mind-29655/

1 Million Concert Tickets - 17 04 2023

1 Million Concert Ticket !! Congratulations !

ABBA have sold 1 million tickets

My, my! Björn Ulvaeus marks massive 1,000,000 guests at landmark concert Abba Voyage after less than a year

https://metro.co.uk/2023/04/18/bjorn-ulvaeus-worried-that-abba-voyage-would-go-badly-wrong-18631129

----------

--------------------

A source recently told The Sun: ‘Everyone knows Abba has a seriously loyal fan base but the show was always a bit of a gamble.

‘No one really knew how the Abba-tars were going to be received, as similar hologram-style concerts were a mixed bag. But for Abba the reaction was amazing. Even those most sceptical about the tech have walked away impressed.

‘The plan is to refresh the show with new songs that have already been shot by the group.’

It’s even said that talks are still in place for the show to transfer to the Las Vegas strip due to overwhelming popularity".

Source: Metro.uk

---------------------------

photos ABBA Voyage

------------

Björn Ulvaeus marks massive 1,000,000 guests at concert Abba Voyage
Emily Bashforth — Tiempo de lectura: 3 minutos

My, my! Björn Ulvaeus marks massive 1,000,000 guests at landmark concert Abba Voyage after less than a year

Less than a year after opening, Abba Voyage has welcomed one million visitors!

Earlier this evening (April 17), the lucky one-millionth fan was welcomed into the Abba Arena in London following its grand unveiling on May 25, 2022, to widespread critical acclaim.

Abba Voyage is the long-awaited concert from one of the biggest pop acts of all time, featuring a setlist of Abba’s biggest, most popular hits – each handpicked with great care by the band.

Next month will mark the concert’s first anniversary in London.

To celebrate the milestone, one audience member won the chance to have an exclusive, surprise meet and greet with Björn Ulvaeus.

Ticket holders for this evening’s concert were invited to nominate themselves, or someone they know, to be the official millionth visitor by submitting a short video explaining what it would mean to them.

ABBA star Björn surprises millionth customer of ABBA Voyage

Josie Felix was chosen as the winner and surprised her family after writing her own song about how her dad would play Abba on the school run when she was a child.

Adorable snaps from the once-in-a-lifetime moment saw the Waterloo hitmaker beam as he greeted the adoring fans with handshakes and hugs.

Abba Voyage has received nothing but glowing reviews since doors first opened, with ‘jaw-dropping’, ‘ground-breaking’, and ‘phenomenal’ just a few quotes from fans describing the experience.

An incredible 40 years in the making, Björn, Agnetha Fältskog, Anni-Frid Lyngstad, and Benny Andersson have created the kind of concert they always wanted, performing for their fans at their very best: as digital versions of themselves backed by today’s finest musicians.

Blurring the lines between the physical and digital, the magic of Abba is brought to life using the latest technology.

The show has been so successful, in fact, that its run has been extended – to 2026!

A source recently told The Sun: ‘Everyone knows Abba has a seriously loyal fan base but the show was always a bit of a gamble.

‘No one really knew how the Abba-tars were going to be received, as similar hologram-style concerts were a mixed bag. But for Abba the reaction was amazing. Even those most sceptical about the tech have walked away impressed.

‘The plan is to refresh the show with new songs that have already been shot by the group.’

It’s even said that talks are still in place for the show to transfer to the Las Vegas strip due to overwhelming popularity.

There are even talks of taking the show to Vegas 

Celebrating the launch together earlier this year, the band reunited in the capital together for the first time in four decades, reminding everyone just how much we missed them.

The Mamma Mia! pop superstars were last together in London for an appearance on The Late Late Breakfast show, hosted by Noel Edmonds in 1982, so it had been a hot minute!

Speaking on the red carpet outside a purpose-built stadium at the Queen Elizabeth Olympic Park in east London, Agnetha enthused: ‘It’s amazing to see all the English fans.’

Benny admitted he expected himself to cry during the concert, saying: ‘Oh definitely, all the time.’

ABBA Voyage is now booking until January 29, 2024 at the Abba Arena, London. For information and best availability of tickets go to www.abbavoyage.com.

The Historic Island Spot Where ABBA Reunited

The Historic Island Spot Where ABBA Reunited

RMV Studio

Photo : Josefin Bakos

Riksmixningsverket — better, and more simply, known as RMV Studio — is “an impossible name, also for Swedes,” admits co-owner Ludvig Andersson. But there’s a good reason for its lengthy, official moniker. Ludvig’s father, ABBA’s Benny Andersson, who co-owns the Swedish studio, had wanted to use the name (a suggestion by ABBA’s former engineer, Michael Tretow) for the group’s Polar Studios, but was legally unable to use the word verket, meaning “institution.” “At the time in the ’70s, you weren’t allowed to call anything that wasn’t an actual institution or department that. But in this day and age, they don’t care anymore,” says Ludvig, who helps his dad with myriad aspects of ABBA’s business. Thus, the National Institutional Department of Mixing was born. “It’s a joke,” Ludvig explains, “and it sounds kind of nice.”

Housed in a 150-year-old former naval warehouse on the island of Skeppsholmen in the center of Stockholm, RMV overlooks the waters surrounding the city and features a restored Neve 8068 console from 1977, formerly owned by Max Martin. Since opening in 2011, RMV has hosted Coldplay, Cat Stevens (aka Yusuf), Daniel Caesar and many local acts — including ABBA, which recorded Voyage, its first album of new music in 40 years, there. “It’s in Stockholm, and I’ve done a lot of recordings in there with my band,” says Benny matter-of-factly. “So it was obvious. Why would we go anywhere else? Besides, the money stays in the family!”

Ludvig Andersson: Benny and I, both being musicians, had been saying for a while that one should really have a studio, shouldn’t one? I think we knew that it was going to be difficult to run it as a commercial, profitable operation. But we both love studios, and here was an opportunity to build one and to have our own.

Benny Andersson: To have a studio available when you need it is vital. Before [ABBA] built Polar Studios, we had to go to find time in the studios that existed in Stockholm, and sometimes, there was no availability. Obviously, RMV is open for booking for anyone, as long as they’re not Donald Trump fans.

Ludvig: I think our main selling point is that we’re not in a basement. We have big windows overlooking the inlet of Stockholm. We have daylight in this building that has a lot of character, and it has a very good soul. I remember when we had just opened, it kind of felt like that studio had been there for 200 years. It hadn’t, but it somehow married and matched with the existing building in a way that [gives] it a very welcoming, warm atmosphere.

Benny: It’s full of French doors all the way around. Normally, when you go into a studio, it’s down in a cellar somewhere. There’s no light because of the sound isolation. But we did that anyway, and it works, as long as there’s not a bus standing right outside — but then we just wait for a minute until it disappears.

Ludvig: What was fascinating [when ABBA reunited] was that they walked through the door, and from an outsider’s perspective, it was as if it was yesterday. There was no, “Oh, wow. How cool is it that we’re back together?” It was just like, “OK, hello, let’s have a coffee and do our COVID-19 tests and then get to work,” which was really lovely to see. [They were there for] a month and had quite reasonable working hours for 75-year-olds.

Benny: Yes, that’s absolutely true. Once the ladies came into the studio and we started recording and going through the songs and all that, and they went to their mics, all of us said, “Wow. It’s like no time has passed.” It’s just continuing from when we last met. It was quite amazing, actually, I have to say. And the fact that they can still sing.

Ludvig: Most of the time, not to say all of the time, it works because we’re very similar. [Benny and I] share the same sort of morals and values and views on what music and art is. He and I have a very good relationship, and it’s nice to see your father often.

Benny: It’s wonderful for me, too. Of course it is. And he’s right. He knows what I feel and think about everything. If he needs to, he can answer for me whoever asks him a question about what’s going on. That feels very comforting. —CHRISTINE WERTHMAN

https://www.billboard.com/lists/best-recording-studios-music-global-photos

Thanks Monique Hoevens - ABBA Newsflash on facebook

Agnetha at the swedish premiere of the film "Elvis"

 From ABBA the New Songs

https://www.facebook.com/abbathenewsongs/posts/pfbid05vJRpYdLYcudqPUjsJEHg5qh9AdF4L7xhc3KgGqdWZd1wKz5jBAbDHZY4pFwdBjdl

ref: thanks atns1