ABBA Voyage: Thank you for the music! Critics fall head over heels for the classic band’s ‘return’ to stage for digital London residency as the ‘ABBAtars’ are hailed as ‘spectacular’ and ‘jaw-dropping’
ABBA’s much-anticipated concert residency opened in a purpose-built arena at London’s Queen Elizabeth Olympic Park, Stratford, on Thursday night, and the ‘spectacular’ performance has received top reviews from critics.
Fans and critics alike have been eagerly awaiting the unique opening night, which saw ABBA avatars – or ABBAtars as they have become known as – appear on stage in 1970s silver sequinned ensembles to perform the band’s number one hits.
And the 95-minute digital stage show did not fail to impress as critics hailed it as ‘spectacular’ and ‘jaw-dropping’ as they heaped it with four and five-star reviews, despite the real life stars not even performing their hits in-person.
Wow! ABBA’s much-anticipated concert residency opened in a purpose-built arena at London’s Queen Elizabeth Olympic Park, Stratford, on Thursday, and the ‘spectacular’ performance has received top reviews from critics
Here they go again! The 95-minute digital stage show did not fail to impress as critics hailed it as ‘jaw-dropping’ as they heaped it with four and five-star reviews [L-R Benny Andersson, Agnetha Fältskog, Anni-Frid Lyngstad and Bjorn Ulvaeus]
The concert, which was five years in the making, saw the audience transported back to ABBA’s 1970s and 1980s prime as the uncanny avatars belted out classics including SOS and Mamma Mia as they were backed up by a ten-piece live band.
And bandmates Agnetha Faltskog, Bjorn Ulvaeus, Benny Andersson and Anni-Frid Lyngstad left fans wanting more as they reunited after 40 years to walk on stage in the flesh to take a curtain call after bizarrely sitting in the audience to watch themselves perform.
The Daily Mail’s Adrian Thrills heaped praise on the show, with the residency running until December, as he gave it a generous four-star review, commending the avatars for their ‘realistic’ look and ‘rocking’ performance.
The critic said the highlights included a dance medley featuring Lay All Your Love On Me and Summer Night City, their performance of Waterloo – which saw the avatars projected against vintage footage of ABBA winning Eurovision Song Contest in Brighton in 1974, and of course, the final curtain call.
‘Spectacular’: Fans and critics alike have been eagerly awaiting the unique concert residency, which saw ABBA avatars – or ABBAtars as they have become known as – appear on stage in 1970s silver sequinned ensembles
Awesome: The state-of-the-art concert – set to run until 2025 – will feature Abba performing as holograms of themselves in their heyday
Describing the show as ‘a concert like no other’, he wrote: ‘For those lucky enough to witness last night’s opening show of Abba’s virtual London residency, there was only one conclusion: Mamma Mia! How can we resist you?’
But he noted the inevitable downside of an avatar-led concert, as he admitted that there couldn’t be any interaction with the audience or spontaneous moments as normally seen in a live performance.
‘The staging was undoubtedly spectacular, but there are still innate shortcomings in any virtual show,’ he concluded.
And The Guardian’s Alexis Petridis gave an equally glowing review as he said it was almost ‘impossible’ to not recognise the eerily realistic avatars as the real thing.
He noted the moment that the avatars jokingly pointed out that the UK awarded ABBA’s hit Waterloo ‘nul points’ when they performed it at Eurovision, and said their commentating featured the natural lulls of a live gig.
One more time! The concert, which was five years in the making and was shrouded in secrecy, saw the audience transported back to ABBA’s 1970s and 1980s peak in fame as the avatars belted out classics including SOS and Mamma Mia
Awarding the show a rave five-star review, he penned: ‘The effect [of the avatars] is genuinely jaw-dropping. Watching the four figures on the stage, it’s almost impossible to tell you’re not watching human beings: occasionally, there’s a hint of video game uncanny valley about the projections on the giant screens either side of the stage, but your attention is continually drawn to the human-sized avatars.’
By the end of the performance, he said, any feeling that the real band were not standing right in front of you had ‘dissolved’ as he praised the technology for its immersive feel in the 3,000-capacity venue.
He added: ‘It’s so successful that it’s hard not to imagine other artists following suit – you strongly suspect the surviving members of Queen will be on the blower to Industrial Light & Magic before the week’s out.’
Another incredible five-star review was given by Huffington Post critic Matt Bagwell, who described the digital show as a ‘mind-blowing feast for the senses’.
Rave reviews: The Daily Mail’s Adrian Thrills heaped praise on the opening night show as he gave it a generous four-star review, commending the avatars for their ‘realistic’ look and ‘rocking’ performance
Venue: The concerts are held at a purpose-built 3,000-capacity venue in the Olympic Park in Stratford, East London
Fun! The 6,710-square-metre theatre will host eight shows a week and will allow for a 360-degree immersive experience, giving fans the chance to get up close and personal with the recreations of the superstars
He said fans were left unsure of what to expect ahead of the concert, which had been shrouded in secrecy, but added that he understood why the band kept the amazing experience under wraps.
‘It is quite simply, awe-inspiring,’ he gushed.
He incredibly hailed it as ‘definitely not a hologram show’ as he raved over the incredible acoustics and eye-catching light show that he said completed the futuristic performance.
‘If the acoustics weren’t so impressive, I swear I would have heard 3,000 jaws simultaneously hit the floor,’ he added.
Elsewhere, Will Hodgkinson, writing for The Times, described the show as an ABBA ‘singalong’ with an accompanying light show as he admitted that a live in-person performance would have been better.
Amusing: The Guardian gave a glowing review and noted the moment that the avatars jokingly pointed out that the UK awarded ABBA’s hit Waterloo ‘nul points’ when they performed it at Eurovision. The band is pictured in February 1974
But he still awarded the concert residency a generous four stars, praising the avatars for not looking ‘ghoulish’ as he said that the best moment of the show still came from the band’s physical appearance on stage.
He wrote: ‘Is this the future? Should we get rid of pop stars and replace them with compliant spirit people? I’ll stick with humanity, not least because when the real Abba came on at the end it provided the truly emotional moment.
‘Still, for a show that combined live music, 3D spectacle and something else entirely, it was out of this world.’
The Telegraph’s chief music critic Neil McCormick praised ABBA’s return to stage with a 20-song set as a ‘blockbuster multimedia CGI spectacular’ and an ‘entertainment extravaganza’ as he gave it a four-star review.
He raved over how the avatar’s impressively managed to create a feeling of personal connection with the audience and praised the ‘fantastical’ feel of the show, which saw giant versions of Agnetha and Anni donning superhero costumes.
Amazing: The Telegraph’s chief music critic Neil McCormick praised ABBA’s return to stage with a 20-song set as a ‘blockbuster multimedia CGI spectacular’ and an ‘entertainment extravaganza’ as he gave it a four-star review
‘There’s a cinematic sweep to the production that will have today’s pop superstars looking on with envy, wondering how they might replicate such trickery at their own gigs,’ he wrote.
‘The truth is, it would be impossible for any actual band to pull off something this spectacular.’
Although he said he would definitely recommend the concert, he admitted his wariness at all concerts eventually becoming avatar-led, rather than in-person experiences.
The holograms had been created following weeks and months of motion-capture and performance techniques, with the avatars depicting the pop group as they appeared in 1979.
The pop pioneers resembled their much younger shelves and are dressed in 1970s silver sequinned ensembles.
An 850-strong team from Industrial Light & Magic, the company founded by Star Wars creator George Lucas, led the company’s first foray into music.
Preparations: The holograms had been created following weeks and months of motion-capture and performance techniques, with the avatars depicting the pop group as they appeared in 1979
Speaking ahead of the shows, Björn revealed Voyage would be ABBA’s last album and recounted the ’emotionally charged’ moment the quartet secretly watched fans react to their concert from within the arena.
Talking to The Sun, Björn revealed: ‘I don’t think there will be any more music with ABBA. I think that was definitely our last album.
‘It’s very emotional at times. The lifesize avatars that you see on stage together with the live musicians, you have to pinch yourself. Even I get the feeling that they really are there.’
Explaining the process, Björn added that it was difficult for the band to choose which songs that avatars would perform as he said: ‘It took some time but finally we arrived at something which has a nice dynamic. But if we had gone on tour we would have played something like this.’
In an interview with The Mirror, he also detailed the ’emotional’ moment he watched the concert for the first time alongside bandmates Benny, Anni-Frid and Agnetha, as they secretly joined fans for the show.
Welcome back: Fans queued outside to welcome the Super Trouper hitmakers as they were unsure what to expect ahead of the digital show
Return: The pop pioneers originally split up in 1982, but reformed earlier this year to record ninth studio album Voyage and unveil plans for an immersive digital stage show
Björn confessed: ‘We were sitting away back in the darkness, so nobody saw us. It was a special moment for me and my entire family who are coming over to watch.
‘Many are too young to have seen me on stage. It was very emotionally charged to say the least.’
And in an interview with Australia’s A Current Affair, Björn teased of the digital show: ‘That’s the vision we have, an experience that nobody has ever had in music.’
‘You know to sit in the audience on opening night and see this thing, see ourselves… it’s going to be weird and wonderful,’ he added.
The pop pioneers originally split up in 1982, but reformed earlier this year to record ninth studio album Voyage and unveil plans for an immersive digital stage show.
But bandmembers Benny and Bjorn insist the reunion is a one-off, with the band unlikely to record more music following the release of first latest album Voyage, after 39 years in November.
Music: Bandmembers Benny and Bjorn (pictured with Agnetha and Anni in 1976) insist the reunion is a one-off, with the band unlikely to record more music following the release of first latest album Voyage, after 39 years in November
The group became household names after winning the 1974 Eurovision Song Contest with hit single Waterloo.
They went on to release tracks including Mama Mia!, Dancing Queen, Take a Chance On Me and Thank You For The Music before walking away from the music industry.
The foursome previously said they would never reform despite their huge worldwide popularity, and reaching more than 400million album sales over 50 years.
The Waterloo group went their separate ways at the height of their career, and during their final years Björn divorced bandmate Agnetha whilst Benny and Frida split up, too.
They performed together for the first time in decades in 2016 at a private event, which marked the 50th anniversary of the first meeting between songwriters Björn and Benny.
ABBA VOYAGE: WHAT THE CRITICS ARE SAYING
Daily Mail
Rating: 
Adrian Thrills heaped praise on the opening night show as he gave it a generous four-star review, commending the avatars for their ‘realistic’ look and ‘rocking’ performance.
Describing the show as ‘a concert like no other’, he wrote: ‘For those lucky enough to witness last night’s opening show of Abba’s virtual London residency, there was only one conclusion: Mamma Mia! How can we resist you?’
The Guardian
Rating: 
Alexis Petridis gave an equally glowing review as he said it was almost ‘impossible’ to not recognise the eerily realistic avatars as the real thing.
Awarding the show a rave five-star review, he penned: ‘The effect [of the avatars] is genuinely jaw-dropping. Watching the four figures on the stage, it’s almost impossible to tell you’re not watching human beings: occasionally, there’s a hint of video game uncanny valley about the projections on the giant screens either side of the stage, but your attention is continually drawn to the human-sized avatars.’
Huffington Post
Rating:
Another incredible five-star review was given by Huffington Post critic Matt Bagwell, who described the digital show as a ‘mind-blowing feast for the senses’.
‘It is quite simply, awe-inspiring,’ he gushed. ‘If the acoustics weren’t so impressive, I swear I would have heard 3000 jaws simultaneously hit the floor.’
The Times
Rating:
Elsewhere, Will Hodgkinson described the show as an ABBA ‘singalong’ with an accompanying light show as he admitted that a live in-person performance would have been better.
He wrote: ‘Is this the future? Should we get rid of pop stars and replace them with compliant spirit people? I’ll stick with humanity, not least because when the real Abba came on at the end it provided the truly emotional moment.
‘Still, for a show that combined live music, 3D spectacle and something else entirely, it was out of this world.’
The Telegraph
Rating:
Chief music critic Neil McCormick praised ABBA’s return to stage with a 20-song set as a ‘blockbuster multimedia CGI spectacular’ and an ‘entertainment extravaganza’ as he gave it a four-star review.
‘There’s a cinematic sweep to the production that will have today’s pop superstars looking on with envy, wondering how they might replicate such trickery at their own gigs,’ he wrote.
‘The truth is, it would be impossible for any actual band to pull off something this spectacular.’
Abba-cadabra! With a touch of magic, they’re back on stage… ADRIAN THRILLS watches classic band’s ‘live return’ on first night of London’s hottest new show
ABBA Voyage (The ABBA Arena, London)
Rating:
For those lucky enough to witness last night’s opening show of Abba’s virtual London residency, there was only one conclusion: Mamma Mia! How can we resist you?
In the words of Dancing Queen, they were having the time of their lives at the Abba Arena in London’s Olympic Park… and were rewarded at the end of an emotional evening when Agnetha Faltskog, Bjorn Ulvaeus, Benny Andersson and Anni-Frid Lyngstad walked on stage in the flesh to take a curtain call.
Up to that point, the famous foursome hadn’t actually been on stage in person during a 95-minute run-through of their greatest hits and a few slightly deeper cuts.
Up to that point, the famous foursome hadn’t actually been on stage in person during a 95-minute run-through of their greatest hits and a few slightly deeper cuts
Quietly taking their seats seconds before the curtain rose, they had watched nervously, or maybe in admiration, from the wings. But if they weren’t centre stage, the spirit of their 1970s and 1980s heyday most certainly was.
Five years in the making and put together at an estimated cost of £15million, this was indeed ‘a concert like no other’ with the band represented by four virtual avatars – or ‘Abbatars’ – of their younger selves created using state-of-the-art digital technology.
In a purpose-built, 3,000-capacity venue, the show began amid cries of ‘unbelievable’ and ‘Oh my God!’ at just how realistic the avatars – beamed on stage as holographic images – actually were.
The dance moves, hand gestures and facial expressions were all remarkably lifelike.
After a short introductory speech from Benny, who compared himself to time-traveller Doctor Who, the band came close to raising the roof with classics such as SOS and Knowing Me, Knowing You, both played early in the set.
In a purpose-built, 3,000-capacity venue, the show began amid cries of ‘unbelievable’ and ‘Oh my God!’ at just how realistic the avatars – beamed on stage as holographic images – actually were
For Chiquitita, the four avatars were silhouetted against a slowly eclipsing sun. Mamma Mia, the song that launched a stage musical and two films, was served up as more of an interlude with larger than life projections of the band members shown on a gargantuan screen rather than on stage.
Much the same went for another number, Eagle, which again had only a filmed accompaniment.
The Abbatars were backed by a ten-piece live band of real-life musicians, including three backing vocalists situated to one side of the stage. Led by UK indie-pop star James Righton – the husband of Hollywood actress Keira Knightley – the backing musicians helped to thicken the classic Abba wall of sound while staying true to the catchiness and clout of the original songs.
They excelled themselves on an extended, rocking version of Does Your Mother Know. There were other highlights, including a thrilling dance medley featuring Lay All Your Love On Me and Summer Night City.
The staging was undoubtedly spectacular, but there are still innate shortcomings in any virtual show
That was followed, with the band dressed all in black, by a pulsating, discofied Gimme! Gimme! Gimme! (A Man After Midnight).
It wasn’t just about the classics from the 1970s and 1980s, either. ‘Who could ever believe we could go back into the studio after 40 years?’, asked the virtual Agnetha before singing the band’s two recent comeback singles – Don’t Shut Me Down and the brilliant ballad I Still Have Faith In You.
If there was a special moment, though – other than that final curtain call – it was the first few bars of Waterloo, in which the four avatars were silhouetted against vintage footage of Abba winning the Eurovision Song Contest in Brighton in 1974.
Before the number, they wryly pointed out that the UK had given the song ‘nul points’. Despite a slight mid-set lull, the finale was spectacular – with the avatars back centre stage for Thank You For The Music, a euphoric Dancing Queen and the inevitable Winner Takes It All, with virtual Anni-Frid in a glitter jumpsuit and digital Agnetha in a flowing white dress.
The staging was undoubtedly spectacular, but there are still innate shortcomings in any virtual show. Earlier this week I saw Harry Styles deliver a masterclass in playing to the gallery.
Launching his new album with a gig at Brixton Academy, he was able to single out fans in the crowd who caught his eye, drape himself in flags thrown from the audience and even sing happy birthday to one female devotee.
A digital avatar will never be able to live in the moment that way, although Abba Voyage made an emotional connection in other ways. Most of us can measure our lives in Abba hits, and the sheer strength of the material alone should be enough to guarantee this show’s box office success.
Before the show I bumped into lifelong Abba fan Sharleen Spiteri, of the band Texas, and she was in no doubt as to why she was there: ‘I’m really keen to see the staging… but for me it’s all about the songs.’ And whether or not they are being performed by avatars, they are still magnificent.
FROM SUPER TROUPERS TO TIMELESS ‘ABBATARS’
To bring the Abba tour to life, experts used motion capture technology employed in big budget Hollywood movies like Star Wars.
All four band members were fitted with form-fitting body suits covered in sensors that helped record their every move. They were also given helmets equipped with cameras and microphones, special shoes and sensors placed all over their faces in order to create digital ‘avatars’.
Bjorn and Benny were even forced to shave off their beards to allow the sensors to properly analyse their facial movements. The stars then spent five weeks in front of 160 cameras. Each of the 20 songs from the concert were performed ‘to perfection’ – enabling every mannerism, facial expression and motion of the band to be tracked and recorded.
The 3D recordings were then given to almost 1,000 digital artists – based around the world – who used archive footage to roll back the years and give the illusion the band in their 1970s prime had been transported to the 2020s.
In total it took around one billion computing hours to create the impressive ‘Abbatars’.
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