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
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.
A great talk about songwriting with the master. Thank you for the wisdom and, indeed, the music,
Björn with Bent Van Looy
Björn Ulvaeus (ABBA) preocupado por la IA: "Tengo miedo de la música en la que no interviene un ser humano"
Björn Ulvaeus, vino a Bruselas para abogar por un mayor respeto de los derechos de autor de los músicos, en tiempos del streaming y de la IA (inteligencia artificial). Bent Van Looy pudo entablar una conversación exclusiva con el compositor sueco. En él, Ulvaeus expresaba su preocupación por el impacto que la IA puede tener en el mundo de la música.
Además de ser el cantautor del mundialmente famoso grupo ABBA, Björn Ulvaeus también ejerce como presidente de la CISAC, la organización internacional que agrupa a las asociaciones de autores, a la que también pertenece la belga Sabam. Ulvaeus pidió en Bruselas un apoyo europeo sostenible para la protección de los autores.
Desde que ABBA causó sensación en la década de 1970 con éxitos mundiales como “Waterloo” o “Dancing Queen”, el mundo de la música ha cambiado hasta quedar irreconocible. Un clic de Spotify ha sustituido al disco de 45 rpm y además del streaming, la IA también está en auge. ¿Dónde está el músico ahora? Björn Ulvaeus explica su visión en una entrevista con Bent Van Looy (Radio 1).
Björn Ulvaeus (ABBA): "La compensación para los músicos en streaming sigue siendo demasiado baja":
El streaming llegó en un momento en el que la industria musical estaba muriendo”, afirma Björn Ulvaeus, “cuando había descargas ilegales masivas. Spotify fue entonces aclamado como una especie de salvador, que al menos daría algo a los músicos. Pero la compensación fue demasiado baja”. Las suscripciones económicas, por supuesto, son positivas para el oyente. Ya no vale la pena realizar descargas ilegales. Pero el resultado es “que la música sigue infravalorada”.
Con la IA, es más urgente que nunca proteger los derechos de autor de los músicos
Björn Ulvaeus (ABBA)
Con la llegada de la IA, los derechos de autor de los músicos también están en riesgo. “La IA ya está aquí y definirá la industria musical y al músico”, reconoce Ulvaeus. "La necesidad de proteger los derechos de autor de compositores y letristas nunca ha sido más urgente que ahora". Los programas de inteligencia artificial que se “entrenan” en la música existente deben pagar a los creadores de esa feria musical una compensación. La Unión Europea puede imponer principios para esto, que es de esperar que se cumplan”.
Björn Ulvaeus (ABBA): La IA puede inspirar, pero temo el momento en que la computadora tome el control:
La IA también tiene muchas ventajas. Pero Benny Andersson sigue siendo el mejor coautor.
Björn Ulvaeus no es nada contrario a los avances tecnológicos: basta pensar en el espectáculo de hologramas de ABBA. También ve los beneficios de la inteligencia artificial para los músicos. “Puedes verlo como una extensión de tu mente. Tienes acceso a todo tipo de referencias que no tienes en mente. ¿Cómo sonaría esto si Rachmaninov lo tocara? Eso no es robar ni copiar: puedes inspirarte”. A pesar de. Incluso con toda la IA, "el mejor coautor es, por supuesto, Benny Andersson", se ríe Ulvaeus.
La música generada automáticamente que ya no requiere intervención humana sería un desastre
Björn Ulvaeus (ABBA)
Pero hay un gran pero. ¿Qué pasa si la computadora se hace cargo por completo? “Tengo miedo de la música generada automáticamente y en la que no interviene la mano humana. Llegará el día en que este tipo de canciones se escucharán en la radio, y hasta te sacarán lágrimas. ¡Eso sería un desastre! Nunca podremos conceder derechos de autor a este tipo de música, tenemos que decidirlo ahora".
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Björn Ulvaeus (ABBA) bezorgd over AI: "Ik ben bang voor muziek waar geen mens aan te pas komt"
ABBA-boegbeeld Björn Ulvaeus kwam in Brussel pleiten voor meer respect voor auteursrechten voor muzikanten, in tijden van streaming en AI (artificial intelligence). Bent Van Looy kon de Zweedse songsmid strikken voor een exclusief gesprek. Daarin uitte Ulvaeus zijn bezorgdheid over de impact die AI kan hebben op de muziekwereld.
Behalve singer-songwriter van de wereldberoemde band ABBA is Björn Ulvaeus ook actief als voorzitter van CISAC, de internationale koepel van auteursverenigingen, waar bijvoorbeeld ook het Belgische Sabam bijhoort. Ulvaeus deed in Brussel een oproep tot duurzame Europese steun voor de bescherming van auteurs.
Sinds ABBA in de jaren zeventig het mooie weer maakte met wereldhits als “Waterloo” of “Dancing queen” is de muziekwereld onherkenbaar veranderd. Een Spotify-klik heeft het 45-toerenplaatje vervangen en behalve streaming is ook AI in volle opmars. Waar staat de muzikant nu? Björn Ulvaeus doet zijn visie uit de doeken in een interview met Bent Van Looy (Radio 1).
BEKIJK - Björn Ulvaeus (ABBA): "De vergoeding voor muzikanten bij streaming is nog altijd veel te laag":
Streaming kwam er op een moment dat de muziekindustrie aan het doodgaan was”, zegt Björn Ulvaeus, “toen er massaal illegaal gedownload werd. Spotify werd toen ingehaald als een soort verlosser, waardoor muzikanten tenminste iéts zou krijgen. Maar de vergoeding was veel te laag.” Voor de luisteraar zijn de goedkope abonnementen natuurlijk positief. Het loont niet meer de moeite om illegaal te downloaden. Maar het resultaat is wel “dat muziek ondergewaardeerd blijft”.
Het is met AI dringender dan ooit om het auteursrecht van muzikanten te beschermen
Björn Ulvaeus (ABBA)
Ook met de komst van AI staat het auteursrecht van muzikanten op de helling. “AI is er al en zal de muziekindustrie en de muzikant definiëren”, erkent Ulvaeus. “De nood om de auteursrechten van componisten en tekstschrijvers te beschermen is nooit urgenter geweest dan nu.” AI-programma’s die “trainen” op bestaande muziek moeten aan de makers van die muziek een eerlijke vergoeding betalen. De Europese Unie kan daarvoor principes opleggen, die hopelijk navolging krijgen.”
BEKIJK - Björn Ulvaeus (ABBA): AI kan inspireren, maar ik vrees het moment dat de computer het overneemt:
AI heeft ook veel voordelen. Maar Benny Andersson blijft de beste co-auteur
Björn Ulvaeus is allesbehalve vies van technologische ontwikkelingen, denk maar aan de hologram-show van ABBA. Hij ziet ook de voordelen van artificiële intelligentie voor muzikanten. “Je kunt het zien als een uitbreiding van je geest. Je hebt toegang tot allerlei referenties die je niet in je hoofd hebt zitten. Hoe zou dit klinken als Rachmaninov het speelde? Dat is niet stelen of kopiëren: je kunt je laten inspireren.” Hoewel. Zelfs met alle AI “blijft de beste co-auteur natuurlijk Benny Andersson”, lacht Ulvaeus.
Automatisch gegenereerde muziek, waar geen mens meer aan te pas komt, dat zou een ramp zijn
Björn Ulvaeus (ABBA)
Maar er is een grote maar. Wat als de computer het helemaal overneemt? “Ik ben bang voor automatisch gegenereerde muziek, waar geen menselijke hand aan te pas is gekomen. De dag komt dat dit soort liedjes op de radio te horen is, en dat je er zelfs tranen in je ogen van krijgt. Dat zou een ramp zijn! We kunnen aan dit soort muziek nooit auteursrechten toekennen, dat moeten we nu beslissen."
Besucher der „Voyage“-Show können sich auf kleine Überraschungen einstellen
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ROLLING-STONE-REDAKTION
22.01.2024
ARTIKEL TEILEN
Die echten ABBA (L-R: Bjorn Ulvaeus, Agnetha Faltskog, Anni-Frid Lyngstad, Benny Andersson) auf der Bühne. (Photo by Mike Prior/Redferns) FOTO: REDFERNS. MIKE PRIOR. ALL RIGHTS RESERVED.
El 06. Abril de 2024 ha legado el momento : Abba feiern 50 Jahre „Waterloo“. Mit dem Pianosturm-Song gewannen die Schweden 1974 in Brighton den Grand Prix Eurovision de la Chanson Européenne beziehungsweise Eurovision Song Contest und starteten ihre internationale Karriere, die zunächst bis 1983 anhielt. Derzeit wird noch gemunkelt, ob Benny Andersson, Agnetha Fältskog, Anni-Frid Lyngstad und Björn Ulvaeus beim ESC-Jubiläum in Stockholm (11. Mai 2024) einen Auftritt absolvieren könnten – wenn schon nicht als Live-Act (das schlossen sie längst aus) oder als „Abbatare“, dann vielleicht ja zumindest als Talk-Gäste. Wer weiß.
Schon rund einen Monat vorher, exakt am 06. April, wird in der „Voyage“-Arena im Osten Londons gefeiert. Was wird in der „Voyage“-Show passieren, was werden die digitalen Avatare tun? Nun, nicht viel, ehrlich gesagt. „Alle Karteninhaber für die Matinee und die Abendvorstellung am 6. April erhalten bei der Ankunft ein exklusives ABBA Voyage x Waterloo-Gedenkgeschenk und einen Gutschein für ein Freigetränk“, heißt es auf einer Buchungsseite, die zum „West End Theatre“ gehört. Beide Goodies werden nicht näher definiert. Für beide Auftritte gibt es noch Tickets, und der 06. April fällt auf einen Samstag.
Seit der Premiere der rund zweistündigen Show im Mai 2022 wurde über mögliche Setlist-Variationen spekuliert – viele Hits des Quartetts fehlen ja, „Take a Chance on Me“, „The Name of the Game“ oder „Super Trouper“. Vielleicht wäre die Fan-Hoffnung, Abba könnten nun dem Anlass entsprechend den einen oder anderen „Waterloo“-Song („Honey Honey“, „My Mama Said“) einstreuen, verfehlt. Tatsache ist aber, dass laut Auskunft aus dem Abba-Lager mehr als nur die 20 Songs von den Avataren beziehungsweise den Bandmitgliedern einstudiert, programmiert und visualisiert wurden.
