Review: ABBA Voyage provides pristine digital images and bouncing pop

Review: ABBA Voyage provides pristine digital images and bouncing pop

ABBA Voyage, the digital avatars playing in London. Image by Tim Sandle.

ABBA are back, at least virtually. Playing in London is the show ABBA Voyage, using digitally recorded avatars of the four band members, together with an array of visual effects and a live performing band.

Since ‘splitting’ in 1983, ABBA have resisted offers to reform and tour even where the price tag has exceeded $1 billion. While the band have recently returned to the studio, it is through advances in digital technology that their admirers can see and hear them play.

ABBA Voyage logo, as displayed in the London venue. Image by Tim Sandle

While this Digital Journal reviewer is more interested in the return of The Cure in terms of a band revival, the reviews for ABBA Voyage and the technical sophistication of the virtual performance was sufficient to spark interest. And this interest was well rewarded.

The show is a spectacular success – from its realism, to the music, and overall pazazz. The venue is custom-built arena at Queen Elizabeth Olympic Park in London, and the two shows per day continue to sell out.

Most of the expected songs are showcased across the 22 song set – from Waterloo to Mamma Mia, from SOS to Fernando. Some high charting tracks inevitably do not feature across the 90 minute set, given that the band have an extensive back catalogue including 50 singles released since 1971.

What was remarkable about the performances was the realism. If one member of ABBA stepped back into a darker area, their image faded but they were still visible as if they were really there. Each performer was also complete from any viewing point – fully formed three dimensional images.

Capacity crowd waiting for the ABBA show to begin. Image by Tim Sandle

At time the band wear clothes from the 1970s and 1980s, often invoking the era of the discotheque; at other times they are wearing more modern clothing, including suits that would not be out of place in the remake of Tron. As dazzling as the futuristic suits are ,the band look better in the recreations of them at the time of their spangly, jump-suited pomp

The quality of the effects and imaging of the performers was due to the work undertaken by Industrial Light and Magic (ILM), the film effects company founded by Star Wars creator George Lucas. More than 100 digital artists and technicians worked on the avatars (or perhaps ABBA-tars?) and effects.

To animate the avatars, the ABBA band members wore motion capture suits and were filmed using 160 cameras, with effects layered on. At the very end of the show images of the band members as they are today are displayed; appearing much older but still with energy and star appeal: Agnetha Fältskog, Anni-Frid Lyngstad, Björn Ulvaeus, and Benny Andersson.

ABBA in action. Image by Tim Sandle.

The music too was crystal clear. There was no break or variation in sound between a new song, as taken from ABBA’s 2021 Voyage release, or an older classic. Each number sounded fresh, with the originally recorded vocals seamlessly matched with the musical accompaniment from the live band.

The concept could open up new possibilities for heritage acts to recreate their golden years. Whether the concept and technology should be applied to deceased artists is a different thing. The appropriateness of this is for debate at a different time; in the meantime, the technical possibilities are endless.

ABBA Voyage is currently showing in London, U.K. on an initial one year run (with options to extend the show until mid-2026).

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