In the entertainment world, there’s a big build-up to the release of the new Avatar movie.
But the music industry also has its own avatar-based phenomenon with ABBA Voyage, which is heading towards its fourth anniversary in London.
As well as the impressive production that has led the way for immersive performances, there’s also been an economic impact. ABBA Voyage contributed £2.06 billion in turnover to the UK economy between May 2022 and May 2025, and £1.14 billion in GVA (Gross Value Added), according to a new report.
In the current edition of Music Week, we report on the opportunities for avatar-based concerts. You can read more on the developments in this space from the likes of Reservoir and Unit1, as well get insights from the co–producers of ABBA Voyage.
The legal ramifications of the technology for music are also a key consideration. Music Week reported in the magazine piece on how PRS For Music is working on a licensing framework for immersive productions.
Here, Gregor Pryor, managing partner EME, Reed Smith, shares his expert legal perspective on how the music industry should negotiate the possibilities for immersive productions…
How much has the ABBA Voyage show opened up the possibilities for wider adoption and innovation of avatar performances? What are your expectations for the Pophouse-backed KISS production?
“After other pioneering attempts at avatar shows by various artists, it was ABBA Voyage that really put the avatar experience on the map. ABBA Voyage consistently pulls in sold-out audiences and has gone down a storm on social media. Pophouse has proven to be an astute investor in music IP and an adept partner for producers who can create consumer experiences that best monetise those properties.
“Part of the success of ABBA Voyage is down to the band’s widespread appeal, which means that whole families are going – often multiple times – alongside those who grew up with ABBA’s music. It also managed to capitalise on the success of Mamma Mia. The KISS show should also prove to be popular, perhaps targeting a different audience.”
What is the outlook for avatar performances using this technology?
“We will almost certainly see further development of avatar performances and virtual shows, particularly for heritage artists and those that have passed away. However, from a legal perspective, name, image, and likeness rights are at the heart of these concepts and can be a hugely complex area. Nevertheless, the massive potential of untapped opportunities for these types of shows will continue to drive value in underlying intellectual properties for both investors and strategic partners.”
How are music companies embracing immersive and experiential entertainment?
“Sony’s recently reported run of high-profile acquisitions is evidence of this trend, and in my view these types of deals will look even more canny as time goes on. With experiential technology developing so quickly, transactions need careful structuring and future-proofing so that the artistic values of the artist are aligned with the quality and feel of the production. This, again, is what ABBA Voyage has done so well.”
We will almost certainly see further development of avatar performances and virtual shows, particularly for heritage artists
Gregor Pryor
Can you describe the challenges in licensing avatar performances of artists on a gaming or other platform?
“We have been involved in several of these licence deals, acting both for artists and platforms. Licensing avatar performances of artists on gaming platforms brings its own specific set of challenges, not least because the game engine environments deliver almost endless artistic possibilities. One of the most complex challenges is marrying up the sometimes disparate objectives of the games studio or platform, the artist management team and the underlying music rights-holders.”
What are the licensing revenue opportunities?
“Collective management organisations have made it clear that their next adjacent revenue target is games platforms, but often they misunderstand how content is delivered. Labels and publishers are now becoming more interested and entrepreneurial in the games world. Major experiential games are a key target for artists and their management; they can reach new audiences and tap into commercial opportunities which extend way beyond traditional digital revenue streams.”
Gregor Pryor
How should artist teams and rights-holders approach their deal-making with a gaming platform?
“One of the key differences between a traditional concert production and a virtual experience in a games environment is the volume of intellectual property considerations. Whilst an in-person concert can consist of commissioned production assets, a gaming experience combines pre-existing IP which is already established and valuable with the artists and rights holder content.
“It is essential, then, to understand exactly how a platform or game engine intends to use an avatar or musical piece, and therefore establish which rights and approvals are required. Nailing this down is a tricky but vital piece of the puzzle if collaborations are to succeed.”
Subscribers can read our full report on avatar-based productions here.
ABBA VOYAGE PHOTO: Johan Persson
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