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What ABBAtars are—and what ABBA Voyage demonstrates
“ABBAtar” is a term for a digital avatar of an ABBA member. Collins records the word as having been coined for the group’s digital performers. In ABBA Voyage, life-size digital versions of the members perform with a live band. The Project Management Institute describes the show as bridging physical and digital worlds, with the digital group singing and dancing alongside a 10-piece band.
The commercial idea is straightforward: audiences buy an event and the emotional connection of seeing a performance, even though the featured performers are digital. In other words, the audience proposition is a concert, not a requirement to adopt a new platform or spend time in a persistent virtual world. That makes ABBA Voyage a concrete example of a paid immersive entertainment experience, rather than evidence that an entire metaverse economy is already working.
How the ABBAtar model compares with other metaverse businesses
The contrast is not simply physical versus digital. Different models ask customers to pay for different things, and they carry different costs and technical demands.
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| Model | Typical revenue logic | Reach and cost trade-off | Main dependencies |
|---|---|---|---|
| ABBAtar-style residency | Tickets and potentially venue spending; other revenue streams are possible but not established here as ABBA Voyage disclosures. | A venue serves a limited local audience at a time. Reaching new cities may require additional production and venue arrangements. | Rights to likenesses and music, production quality, venue operations, local demand, and the ability to keep the show worth attending. |
| Persistent virtual world | Could rely on subscriptions, advertising, transactions, or other digital services; the specific model depends on the product. | Digital access can reach users across locations, but a world needs ongoing content, users, and a reason to return. | Useful experiences, moderation and safety, identity and interoperability choices, and enough users to sustain activity. |
| Enterprise virtual-world use | Business contracts for specific uses such as collaboration, training, or operational tools. | Access can be distributed, but value depends on solving a defined organizational problem rather than attracting a general audience. | Integration with existing systems, reliable connectivity and computing, and a clear business case. |
The latter two rows describe broad business-model categories, not audited examples of ABBAtar revenue. The practical distinction is that a residency has a defined product and familiar ticket-buying behavior, while digital-world and enterprise models need their own repeatable reasons for customers to pay.
Where 5G fits—and what it cannot do
The European Commission’s 2023 staff working document defines virtual worlds as persistent immersive digital environments that blend physical and digital worlds in real time. It identifies connectivity, cloud and edge computing, data, digital twins, blockchain, extended reality (XR), artificial intelligence, digital identity, and standards among the relevant building blocks. 5G is one part of that stack, not a complete metaverse platform.
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For an immersive venue, faster data transfer, lower latency, broader coverage, and greater reliability can help connect devices and support responsive experiences. Cloud and edge computing can provide processing and data capacity. These capabilities may matter for interactive displays, remote delivery, or synchronized experiences, but they do not create an audience, secure performer or music rights, or make an expensive show economical by themselves.
The Commission stated in 2023 that “The Digital Decade objective is 5G for all populated areas in Europe in 2030.” That is an objective, not evidence that 5G is already available everywhere. Nokia’s annual filing likewise frames the network as an enabler while noting that capabilities will need to evolve to meet anticipated metaverse needs. Deployment and performance will vary by location and use case; a venue’s connectivity and compute requirements need to be assessed in practice.
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The Commission document also reports an estimate that even modest virtual-world use could drive a 20-fold increase in current data usage. It is an estimate in a 2023 staff working document, not a measured outcome or a forecast guaranteed to occur. The same document notes that some stakeholders questioned high estimates for market size and usage, while others were more optimistic. There is no established audited global ABBAtar market size or definitive return-on-investment figure in the cited material.
A practical architecture: build the experience before expanding it
An ABBAtar-style business depends on several layers working together. The audience-facing show is only one part of the operation.
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- Venue layer: Plan the screens or projection, acoustics, lighting, live-performer integration, ticketing, accessibility, safety, and physical operations. These are core requirements for a venue-based event whether or not it uses 5G.
- Content and rights layer: Secure likeness and music rights, and develop the performance through motion capture or other production methods, rendering, choreography, and show updates. Rights and content determine what can be performed and how the experience can evolve.
- Connectivity and compute layer: Choose venue connectivity—such as fiber or 5G—and determine whether cloud rendering, edge processing, synchronization, or content distribution is required. Match the technical design to the actual show rather than assuming every component needs a 5G connection.
- Audience layer: Start with in-person attendance if the product is a residency. Consider remote viewing, second-screen features, AR, VR, or interaction as separate extensions with their own audience proposition and costs.
This sequence also answers whether a visitor needs a VR headset: not for a physical venue show like ABBA Voyage. Headsets may be relevant to some separate XR or virtual-world experiences, but they are not a prerequisite for every metaverse-related use case.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.Which revenue streams are plausible?
The documented ABBA Voyage pattern supports the idea of a ticketed residency and premium venue experience. A broader operator could investigate touring licensed installations, sponsorship, merchandise, recorded or streamed versions, or licensing the underlying technology. Those are possible extensions to test, not independently verified disclosures about ABBA Voyage’s revenue.
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A sound commercial case would start with the audience and the content, then test whether the production can earn enough through attendance and associated spending to justify its costs. Any expansion should be evaluated against rights fees, capture and rendering, venue costs, technical operations, utilization, and the expense of refreshing the show. Network or compute partnerships—including licensing, partnerships, and joint ventures of the kinds Nokia describes in its annual filing—could support delivery or technology commercialization, but they do not substitute for a paying audience.
What must be true for the model to scale?
- Rights are available: A producer must be able to use the performer’s likeness and the relevant music, with terms that support the intended venues and distribution.
- Demand supports the venue: Local attendance and ticket economics must justify a high-production experience and its ongoing operating costs.
- The show can travel or refresh: Replication across cities requires a workable production and venue plan; repeat visits may depend on meaningful updates or enduring audience interest.
- Technology solves a real production need: Low latency, bandwidth, rendering, or synchronization should improve the experience enough to justify the infrastructure cost.
- Extensions earn their complexity: Streaming, remote participation, or XR should reach additional customers or improve the product, not merely add technology for its own sake.
The European Commission says it funds 100 projects through the Digital part of the Connecting Europe Facility as examples of concrete 5G use cases. That shows public support for exploring practical applications; it does not establish the commercial success of ABBAtars or any one virtual-world business.
So, could ABBAtars be the metaverse business model?
They could be one useful model: a content-led, ticketed experience in which a compelling digital performance gives people a reason to gather and pay. The model is especially relevant to entertainment operators and rights holders who can assemble distinctive content, a venue, and a production that audiences want to attend. Its repeatability depends on rights, production and venue costs, local demand, utilization, and the ability to refresh or reproduce the show.
It should not be mistaken for a universal business model for the metaverse. A concert can be digitally produced without being a persistent virtual world, and 5G can enable parts of an experience without generating demand or profit. The more defensible lesson is to begin with a specific, high-value experience and use connectivity and compute where they improve it; broader virtual-world economics remain uncertain.
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