Mostrando entradas con la etiqueta abba the new songs. Mostrar todas las entradas

sábado, 29 de octubre de 2022

I went to see Abba Voyage and I felt like I was at a concert 100 years in the future rather than 2022

From .birminghammail.co.uk: "I went to see Abba Voyage and I felt like I was at a concert 100 years in the future rather than 2022"

29 OCT 2022

full article here: https://www.birminghammail.co.uk/.../went-see-abba-voyage...

I went to Abba Voyage and I felt like I was at a concert 100 years in the future

Rebecca Astill —

Abba Voyage is cloaked in a veil of mystery and anonymity, thanks to the no phone rule present inside. All I knew going in, was the vague concept that CGI makes it seem like you’re at an ABBA concert from their youth.

I didn’t know it took five years and cost £140m to make. Hopefully that gives you an idea of the magnitude of the concert.

There were vibrant light shows which expanded beyond the stage and above the audience, screens displaying short films and the Eurovision performance that started everything, surround sound and, of course, the avatars. I’ve never seen anything quite like it, Abba Voyage is the peak of human imagination.

The show started on a sombre note, as Anna-Frid appeared singing 1981 hit The Visitors. The audience were certainly expecting an exhilarating start and the slower number took a few people by surprise - though it turned out to be the perfect opener, a builder of suspense.

The middle chunk of the gig was dedicated to the classics on every family party playlist - Lay All Your Love On Me, Chiquitita, Fernando, Mamma Mia, Gimme Gimme and Waterloo. During each song I marvelled at the plausibility of the avatars on stage.

Abba Voyage

They were perfect, down to the movement of each strand of hair, to the 70s dance moves and Benny and Bjorn on the instruments. I was worried they’d be kind of Sims-esque, but instead I just couldn’t believe they weren’t real people. My mind was blown.

During interludes where the band ‘changed outfits’, one of the many gags to make the gig seem real, we watched projections of the band singing on the 65m pixel screen. During another interlude, the backing band, handpicked by Abba themselves, give an astounding performance of Does Your Mother Know.

Obviously, the highlight of the show was Dancing Queen. As soon as the keyboard glissando and chorus of ‘aaaaah aah aaaaaah’ started, the whole crowd was in uproar, and the security guards were encouraging everyone to their feet.

The scene was something from a pandemic lockdown daydream. Thousands of people, who had never met before were on their feet dancing, pointing and smiling at each other, and wondering at the hold that one song has over us.

The band came back for an encore of Thank you for the Music and The Winner Takes It All, before bidding farewell. But that wasn’t all, the final encore saw avatars of current day Abba come to stage, thank everyone for coming, and disappear to the sound of absolute euphoria.

There was a notable absence of Super Trouper, but other than that, it was the perfect night. Words don't do it justice, everyone says it but it needs to be seen to be believed.

How to buy Abba Voyage tickets

You can buy official Abba Voyage tickets on Ticketmaster. There is an option to only see tickets below £50, and the most expensive tickets cost more than £200.

Where is Abba Voyage

Abba Voyage takes place in the Abba Arena, a custom built concert venue in Stratford, East London, next to Pudding Mill Lane station. It has a capacity of 3,000, and, here’s the best bit, it can be folded away and shipped somewhere else, for when the show finishes in the UK.

The address is Abba Arena, 1 Pudding Mill Lane, London, E15 2RU.

Where to stay near the Abba Arena

I’d recommend staying at the Hyatt Regency London Stratford, as I did. It’s a short, and most importantly, safe 20 minute walk to and from the stadium, and right in the midst of Stratford’s Westfield shopping centre with plenty of restaurants and coffee shops nearby.

Inside are 225 guestrooms and 10 suites, so you’re always likely to find a room available. There’s a restaurant, bar terrace, gym, room service and breakfast.

If you’re visiting for the Abba Voyage concert, it’s worth getting the bed and breakfast deal on the website. The address is 10A Chestnut Plaza, Stratford City, London, E20 1GL.

miércoles, 26 de octubre de 2022

the new @allontheboard at Pudding Mill Lane

source: ABBA Voyage

domingo, 23 de octubre de 2022

Per Sundin: "New destination - New adventure; Singapore"

News? About?

From Instagram: perurban

"New destination - New adventure; Singapore"

Björn Ulvaeus, Christina Sas, Per Sundin

Christina Sas

Senior Product Manager Universal Music Group & Co-Lead CMA Task Force Germany

viernes, 14 de octubre de 2022

ABBA Voyage Premiere - Frida and Björn

Frida and Björn

photo Kirsty Ryan

May 26th, 2022 ABBA Arena

ABBA’s Triumphant Return

October 14, 2022, 6 AM ET

Take a chance on them.

By James Parker

I’ve seen the best. The maddest and the fieriest and the deepest and the heaviest. I’ve watched them, open-mouthed: HR, from Bad Brains, executing a perfect backflip to land crisply on the band’s last syllable of chord-crash; Patti Smith singing “Beneath the Southern Cross,” heaving open the doors to the underworld with the pressure of her own breath; Iggy Pop, berserk, doing “I Wanna Be Your Dog” with Sonic Youth as his backing band. And none of these, none of these, transported me in quite the manner in which I was transported a few weeks ago by a vision of ABBA.

And it was a vision. At a purpose-built arena in East London, ABBA—those smiley, soft-spoken radicals; those almost blandly futuristic Swedes—has orchestrated an immaculate 3,000-person, 95-minute digital hallucination. This is CGI stuff, the outer limit. Four figures appear onstage before us, avatars, daemons, numina, whatever they are, denser than holograms, more shimmeringly charged than human beings, with a kind of atomic brightness, composites of light and longing. And we know them: Björn, Benny, Agnetha, Frida, in their late-’70s/early-’80s pomp, their poppiest plumage, variously nodding and swishing and keening and twinkling and making little gracious gestures. Huge sidescreens give us close-ups, flashes of realism—the eyes, the sweat on the cheekbones. Holy shit. ABBA!

ABBA Voyage was five years and zillions of dollars in the making, a meisterwerk created with Industrial Light & Magic, the visual-effects company founded by George Lucas. And it’s the future, quite obviously. Present-day old-age ABBA, having worked for weeks in motion-capture suits to get the genetic code of ABBA-ness into the ILM computers, can now sit back as these radiant editions of their younger, prettier selves sell the place out night after night. The brain buys it, is the point: Your wobbly old analog brain, as you watch these figments come high-heeling out of the digital ether, is very happy to accept them as real. Very happy to weep, cheer, join in the chorus, wave your arms. It’s a success, artistically and … neurologically. This could go to Vegas, this could go to Sydney, this could go anywhere. Everywhere. The Rolling Stones could do it. Lana Del Rey could do it. The pop star as pure illusion, pure imago, pure energy state, infinitely reproducible and infinitely potent if you have the tech. David Bowie, where are you?

(Actually, I know where David Bowie is, at least tonight. He is weirdly inhabiting the cyberapparition of ABBA’s Frida, who is revealed by this experience, and by the trick of time, as not a sweet and cheesy pop star but a teetering, angular ’70s-style rock star, loaded with otherworldliness. Her disco hauteur, her hair of Ziggy-est red, the filter of alienation on her beauty, and the seam of coldness in her voice. Frida’s onstage authority, even as the rest of ABBA boogies and beams around her, even as she boogies and beams, is Bowie-esque, Bowie-echoing, no other way to put it.)

They—“they”—open with the massive, foreboding synth-throb of “The Visitors.” Perfect choice: the most paranoid and eerily electronicized of all ABBA songs. “I hear the doorbell ring and suddenly the panic takes me / The sound so ominously tearing through the silence.” Sung by Frida, of course, in a sinuous, ceremonial, artificially thinned voice. “And now they’ve come to take me / Come to break me …” She—“she”—raises her arms, phoenixlike, and light spatters off her amazing, bedazzling cape, all around the arena. It’s jaw-dropping, literally: I go Uuuuuuuuh …

Part of the secret of ABBA’s music is its inorganic quality—the ticktock notes at the beginning of “Mamma Mia,” the robotically chanted backing vocals to “Take a Chance on Me”—as if among its primary elements of tinkly Euro-pop and Scandinavian sing-along were Kraftwerk and Gary Numan. ABBA Voyage’s director, Baillie Walsh, when asked in the official concert program how he would describe ABBA to someone who’s never heard them, answers: “A folk group from Mars.”

And then there’s the repression. The frozen lake of sadness. Benny and Björn were a grinning hit factory, a two-man Brill Building, and the group as a whole never failed to project a sheen of super-trouper professionalism. But the music of ABBA is quietly thunderous with heartbreak and failure. “Deep inside / Both of us can feel the autumn chill …” Agnetha was married to Björn, and Frida was married to Benny, and both of these marriages collapsed, sundered like calving glaciers as ABBA went global. “Knowing Me, Knowing You,” at the arena in London, is almost sensory-emotional overkill: Refracted and merging mirror images of the two couples ripple across the stage as the anthemic breakup lyrics shake our ribs. “We just have to face it / This time (this time) we’re through.” Strong men cry—or I do, anyway—at the peculiarly ringing metallic melancholy of great, late ABBA.

The whole world loves ABBA, but England especially, because of the repression (see above). So ABBA Voyage opened in England, in the special arena—Nordically tasteful in dark metal and blond wood, like the back parts of Keflavík airport—at Pudding Mill Lane, in London’s redeveloped Docklands. Seven performances a week, sold out for months to come. The crowd bubbles. The crowd is thrilled to be there. “Dancing Queen” is a celestial event; a kind of black hole of joy; a rushing, released groove unlike any other in the ABBA songbook. The ushers in the aisles turn to us and wave their arms over their heads, so we wave ours too—we in our feather boas and our sensible shirts, our gleaming youth and our dowdy middle age, our gayness and our straightness, a solid wedge of the Great British Public. ABBA people.

Cartilaginous tubes of Nothingness. That’s a line I scribbled in my notebook at some point in the evening. I must have been getting freaked out. Because it was freaky, undergoing the memory onslaught of compacted decades of ABBA experience while gazing enraptured at something that, when you got right down to it, wasn’t there. In the spaces between these near-angelic digital beings, in the spaces behind them, the unreality comes trickling in—through holes and portals and cartilaginous tubes of nothingness. Here’s what you don’t get, will never get, at an event like this: the sensation of the performers locking in, intensifying, beginning to draw their power from a grid that transcends the immediate moment. Power like a gift, pouring out of the holy matrix. That won’t happen. Even if the Björn avatar does a backflip at the end of “The Winner Takes It All,” or humps the stage like Iggy Pop.

But I’m old, aren’t I, and my skin is cold, and I shall wear the bottoms of my trousers rolled. This is what’s coming, like it (or love it) or not. And for ABBA, with their silvery excellence, their poignancy and remoteness and smilingness, and their astrally piercing harmonies, it’s perfect. It’s state-of-the-art. They can live forever like this. There’s an ABBA thing, a resurgence, an indulgence, going on right now on TikTok. Great pop never dies. And now it really never dies. Ground control to Major Tom: Stay right where you are. No need to come back to Earth. “To be or not to be,” says the enigmatic Benny avatar to the audience at ABBA Voyage, musing between songs. “That is no longer the question.”

This article appears in the November 2022 print edition with the headline “Take a Chance on Them.

https://www.theatlantic.com/magazine/archive/2022/11/virtual-abba-london-concert/671531/

miércoles, 12 de octubre de 2022

Anni-Frid knows how to make an entrance.

source abba voyage

martes, 11 de octubre de 2022

ABBA nominated in 2022 ARIA Awards

ABBA have been nominated in this year's ARIA Awards. 

Eurovision 1974 champions ABBA have been nominated in the Most Popular International Artist for 'Voyage'. 

ABBA is up against some big names but their album 'Voyage' did go no.1 in Australia at the end of 2021. 

The ARIA Awards will take place on 24 November.

https://www.aussievision.net/post/vanessa-amorosi-and-abba-nominated-in-2022-aria-awards

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

We’ve Been Thinking About Holograms All Wrong

Lane Brown

We’ve Been Thinking About Holograms All Wrong
Forget reanimating dead musicians. This tech is for living performers who can’t stand their bandmates.

ABBA’s music is immortal, Swedishly engineered to flood listeners’ brains with dopamine until the sun explodes. The band itself, though, was never built to last. Its lineup included two married couples — Agnetha Fältskog and Björn Ulvaeus, and Benny Andersson and Anni-Frid Lyngstad — whose relationships ended in double divorce, triggering the group’s 1982 split. ABBA’s original career spanned just a decade; they stayed broken up for the next four, even while the Mamma Mia! movies and a relentlessly popular greatest-hits album made them more famous in this century than they’d been in the previous one.

They were once offered $1 billion to reunite, but seemingly nothing could compel them back into business with their former spouses. “Money is not a factor,” Ulvaeus once said. “We will never appear onstage again.”

But then, this past May, they did. The occasion was the opening night of ABBA Voyage, their new virtual-concert residency in London, and they were there to take a bow for a performance they had not (technically) given. Voyage stars computer-generated clones of the band designed to look and sound like their 1979 selves. The real members, now in their 70s, spent a month in motion-capture suits working out the choreography but can now relax at home — separately — while their “ABBAtars” play “Dancing Queen,” “Fernando,” and “Waterloo” seven times a week, aided by a ten-piece live orchestra.

Voyage takes place in a custom-built temporary stadium, ABBA Arena, and cost $175 million to develop, making it one of the most expensive live shows ever. It’ll need to attract north of 2 million fans just to break even, but that seems doable with 650,000 tickets already sold. Performances will likely continue through at least 2025. Once start-up costs have been recouped, profit margins could dwarf that of a typical reunion tour. And things could get even more lucrative from there with plans underway to launch a second version of the show in a yet-to-be-determined city.

Since 2012, when a somewhat glitchy Tupac played Coachella, virtual-concert technology has mostly been used to resurrect dead musicians. Fans have responded poorly to digital revenants of Whitney Houston, Amy Winehouse, and Ronnie James Dio, who never could’ve imagined they’d be reincarnated as CGI, much less given their approval. Each was decommissioned under a cloud of exploitation. (Fully synthetic performers like the Japanese software diva Hatsune Miku have fared a little better.) But ABBA’s members — who are alive, consenting, and profiting from their show — may have finally destigmatized the concept. Their success suggests that the single best use of the technology may be for living artists who hate performing, or their bandmates, or both.

The seeds of the idea for Voyage were planted by Simon Fuller, the former manager of the Spice Girls and creator of many international variants of American Idol. In 2016, he partnered with Pulse Evolution, the company whose founders had digitized Tupac and Michael Jackson, and set to work on an Elvis Presley hologram that never made it to the stage. “Fans are cynical about reinventions of their idols,” Fuller says. “I realized that if I wanted to bring someone back in a way that was acceptable, they had to be alive. That way, the artist would be around to talk about it and fans would be less likely to argue with their hero. And ABBA — forget Pink Floyd, forget Led Zeppelin — was the holy grail of my vision.” He pitched the band. “Initially, they were like, ‘What is this?’ ” he recalls. “But it was a bloody good idea and they understood it.” (Fuller ended up not being involved in the final version of Voyage.)

ABBA also understood that Voyage would scramble the usual compact between artist and live audience. Since Fältskog, Ulvaeus, Andersson, and Lyngstad are theoretically capable of performing but simply don’t feel like it, they needed to entice fans with something their physical presences couldn’t offer. So they digitally de-aged themselves to their ’70s heyday, which may allow attendees to feel de-aged too. “That wasn’t just to be young and good-looking. It was to validate this exercise,” says Fuller. “If it was just, ‘Oh, we’re mo-capping ourselves now,’ then a fan might say, ‘You don’t want to play to us?’ But these immortalized avatars are a fun fantasy.”

That fantasy required some heavy new tech. Even though musical holograms have been around for more than a decade, most of them still seem like they came out of the tinny rendering engine of a Nintendo 64. So ABBA hired Industrial Light & Magic to re-create their classic-period look down to every strand of hair and facial tic. The ABBAtars are the most lifelike virtual pop stars ever rendered, and it’s not a close contest.

There was also the issue of display. “We saw some hologram shows and thought, This is not good,” says Per Sundin, the CEO of Pophouse Entertainment, a co-developer and lead investor in Voyage. Most so-called holograms (including the ABBAtars) aren’t really holograms. Many are just variations on a 160-year-old illusion called Pepper’s Ghost, in which a three-dimensional figure is projected onto a transparent screen. “You have to stand right in front of it to see it, and after ten minutes it’s boring,” says Sundin. “We wanted something that would feel immersive for 90 minutes.” Thus Voyage uses three enormous 65 million-pixel LED TVs to maximize clarity and viewing angles. The ABBAtars appear in human size on the main screen and in magnified close-up on both side panels, mimicking the effect of a normal concert.

In some ways, Voyage may be better than an in-person reunion. Since no traditional venues could accommodate the show’s hardware, the band had to build their own in Queen Elizabeth Olympic Park. Its maximum capacity is just 3,000, which is more intimate than anywhere the real group could ever play. “ABBA could do a tour of small theaters,” says Fuller, “but there would be millions of fans who couldn’t get tickets, and you’d be charging so much money that everyone would hate you.” (Tickets for Voyage range from around $25 to $200 for a spot in a ten-person VIP booth with a private dance floor.)

Not every artist will be able to splash out $175 million on bleeding-edge CGI and a custom stadium. But now that ABBA have done it, others may not need to. Sundin says the band and its partners could lease their tech and arenas to other superstars. There’s also the MSG Sphere, James Dolan’s futuristic 17,500-seat concert venue with even bigger LEDs than ABBA’s, set to open in Las Vegas next year (with an identical twin proposed in London). And for smaller artists, there’s a fast-growing industry of start-ups offering hologram tech that can be permanently installed in venues or sent out on the road. (One such venture is Proto, an L.A.-based company that builds phone-booth-shaped displays that musicians like Kane Brown and Walker Hayes have used to beam into concerts remotely.)

ABBA “worked out a lot of the issues, and now we’ve all got more options,” says Fuller. “Artists who want to do things the way they’ve been done since time began can continue to do so. But if others want to stray into the virtual world, Voyage is proof of concept.”

That proof of concept may have arrived just in time, as many top-grossing touring acts approach the end of their performing years. Mick Jagger has called Voyage a “technology breakthrough,” and at 79 years old, the recent heart-surgery patient is presumably aware that the Rolling Stones can’t rock in corporeal form forever. Same for Carlos Santana (75), who collapsed during a gig this summer; Paul McCartney (80), whose voice is finally waning; and Bruce Springsteen (72), who’s starting to look like Woody Allen.

They may already be planning to replace themselves with virtual doubles. “I can’t say who, but we’ve been filming artists now while they’re well enough,” says David Nussbaum, the CEO of Proto. “So when they want or have to stop playing live, they’ll have holograms that have been endorsed by them and not just their estates.”

Since Jagger and McCartney have quenched fans’ demand with regular
Sin embargo, en una gira en persona, "la verdad o por unidad son las bandas fracturadas", dice Olivier Chastan, CEO de la compañía de gestión de derechos iconoclastas, propiedad del catálogo de música y semjanza de Robbie Robertson. (Su banda, la Banda, no ha tocado juntos desde entonces The Last Waltz in 1976.) “Do you want to see Fleetwood Mac with Lindsey Buckingham? Or the Beach Boys with Brian Wilson and Mike Love? Of course. In most bands, you eventually have dissension and then nobody will talk to each other. But this can solve that problem.” For example, Oasis have been hopelessly split up since 2009, but Noel Gallagher says he’d consider performing with a Liam hologram.

The losers in all this may be young artists, whose music already accounts for a diminishing share of total listening. (In 2021 and the first half of 2022, consumption of current music declined while that of catalogue music jumped by double-digit percentages.) What happens when they have to compete against not just a bunch of old songs on Spotify but touring versions of the greatest acts of all time, virtually reassembled and restored to their peak concert-giving powers? Chastan hopes those younger artists will use the tech in more creative ways than their elders. “A band like the 1975 could do an augmented-reality show with Stranger Things–style special effects,” he says. “Or someone could just use it to sell merch: ‘Click here to buy what Harry Styles is wearing onstage right now.’ So it could be amazing. Or it could be irritating.”

https://www.vulture.com/2022/10/abba-voyage-london-holograms.html

viernes, 7 de octubre de 2022

Björn at the ABBA Arena

October 7th, 2022

Björn with Rita Wilson

Rita Wilson: "Why can I say about ABBA ABBA Voyage? This is PURE JOY!!! Wonderful to see my friend from the Mamma Mia films and one of the four reasons there even is a movie, Bjorn Ulvaeus, of ABBA, last night at this show that is too unique to be described!!! I brought along my dancing queen Olivia Harrison we are still singing and dancing!"

Rita Wilson is an actress and producer. She has been married to Tom Hanks since April 30, 1988.

Rita Wilson is an actress and producer. She began her career as an actress in films like "Volunteers" (1985), "Sleepless in Seattle" (1993) and "Runaway Bride" (1999), she found her greatest success as the producer of two highly successful films, the comedy "My Big Fat Greek Wedding" (2002) and the musical "Mamma Mia!" (2008), which broke box office records around the globe. After her marriage to occasional co-star Tom Hanks, she began exploring production properties through his company, Playtone.

Rita Wilson instagram

https://www.instagram.com/ritawilson/

photo: ABBA Voyage

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

Ø video

published abbathenewsongs

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

video by ABBA Voyage

-------

Björn with Sam Ryder

Sam Ryder is a singer, songwriter and guitarist from Essex who has worked in the music industry since 2009.

He’s spent the majority of his adult life touring the world and performing live with bands including The Morning After, Blessed By A Broken Heart and Close Your Eyes, but well and truly hit the big time in 2020 after deciding to post covers on TikTok.

The response to his videos was so huge that TikTok crowned his account the most popular UK artist account of 2020.

source: https://heatworld.com/entertainment/music/sam-ryder-tiktok-singer/

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

Henry Moodie...

References: Henry Moodie...

instagram

https://www.instagram.com/samhairwolfryder/

Sam Ryder

instagram

https://www.instagram.com/samhairwolfryder/

---------

Instagram photos

Instagram der_eine.leon

intagram bambi_mercury

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

more photos here: https://www.facebook.com/abbaregistro/posts/pfbid028jSuD47SuivDd3PU3qdd8tzrEv6BqgXkAq9FtPug44NEvxAqAG1Ww3yw4tVtLWGjl

the winners...

Ø source ABBA Voyage

miércoles, 5 de octubre de 2022

Frida, a surprise visit

From ABBA Voyage: "Over the past month we’ve welcomed the iconic Anni-Frid to the arena and celebrated a whole year since ABBA Voyage was announced!

A surprise visit
It was a pleasure to have Anni-Frid with us for the first time since the premiere in May. When asked about the experience of sharing the concert with the audience she said
'It lifts my spirits, it makes me emotional,
it creates love'
- Anni-Frid

martes, 4 de octubre de 2022

Abba Voyage Band

ABBAVoyage : "Today marks three years since the wonderful #ABBAVoyage live band were formed"

source abbavoyage