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    Abba Returns to the Stage in London. Sort Of.

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    The Swedish superstars — or digital versions of them, at least — performed on Thursday to 3,000 enthusiastic fans with the help of 140 animators, four body doubles and $175 million.LONDON — Ecstatic cheers bounced around a specially built 3,000-capacity hexagonal arena Thursday night as the members of Abba — one of pop music’s behemoths — slowly emerged from beneath the stage, their classic ’70s hairstyles leading the way, to play their first concert in over 40 years.As a synthesizer blared and lights pulsed, the singer Anni-Frid Lyngstad twirled her arms skyward, unveiling a huge cape decorated with gold and fire red feathers, while she sang the slow-burn disco of “The Visitors.” Benny Andersson, poised at his synth, grinned like he couldn’t believe he was onstage again. Bjorn Ulvaeus, the band’s guitarist, focused on his instrument. Agnetha Faltskog swirled her arms as if in a hippie trance, adding her voice to the chorus.Soon, Andersson took the mic. “I’m really Benny,” he said. “I just look very good for my age.”The specially built Abba Arena holds the technology required to bring the Abbatars to life.Lauren Fleishman for The New York TimesThe audience — some already out of their seats dancing, glasses of rosé prosecco in hand — laughed because the comment went straight to the heart of the event. The members of Abba onstage weren’t real; they were meticulous digital re-creations made to look like the group in its 1979 heyday. The real Abba — whose members are all at least 72 years old — was watching from the stands.Thursday’s concert was the world premiere of Abba Voyage, a 90-minute spectacular that runs in London seven times a week until at least December, with potential to extend until April 2026, when the permission for the Abba Arena expires, with the land being designated for housing.During the show, the digital avatars — known as Abbatars — performed a set of hits with the help of a 10-piece live band and an array of lights, lasers and special effects. For the Spanish-tinged “Chiquitita,” the group sang in front of a solar eclipse. For the stadium disco of “Summer Night City,” it appeared in pyramids made of dazzling light, with the rings of Saturn twirling in the background. The avatars also appeared as 30-foot-tall figures on huge screens at the sides of the stage, as if being filmed at a real concert. At points, they started appearing in dozens of places onstage as if in a manic music video.Baillie Walsh, the show’s director, said the event was meant to be “a sensory overload.”The project, which Walsh said pushed digital concerts beyond the hologram performances that have made headlines in the past, is the result of years of secretive work, protected by hundreds of nondisclosure agreements. That included five weeks filming the real Abba in motion capture suits in Sweden; four body doubles; endless debates over the set list; and 140 animators from Industrial Light & Magic (known as I.L.M.), a visual effects firm founded by George Lucas that normally works on Hollywood blockbusters.Svana Gisla and Andersson’s son Ludvig Andersson, the event’s producers, said in an interview last Friday that they had to deal with a host of problems during the eight years they worked to develop the show, including fund-raising challenges and malfunctioning toilets.“It’s been stressful,” Andersson said, looking exhausted and sucking a mango-flavored vape pen. “But, make no mistake,” he added, “nothing has been more enjoyable than this.”Alex Beers, a member of the band’s fan club, traveled from Amsterdam for the concert.Lauren Fleishman for The New York TimesCarla Bento flew in from Portugal just to stand outside the show.Lauren Fleishman for The New York TimesMerchandise for sale inside the arena included shirts, backpacks and a tea tray.Lauren Fleishman for The New York TimesThe idea started around 2014, Gisla said, when she was brought in to help make music videos for the band involving digital avatars, a process that was “a total nightmare,” she said. Around 2016, Simon Fuller, the producer behind the “Idol” franchise and the Spice Girls, suggested a show starring a 3-D version of the group “singing” while backed by a live band. (Fuller is no longer involved.)The group needed to get creative because Faltskog and Lyngstad had made it clear that they didn’t “want to go on the road,” Andersson told The New York Times in 2021. But the quartet did want to include fresh music in the show, so it reunited in secret to work up a few songs, which became something more: “Voyage,” Abba’s first new album in four decades, released last year.The team quickly realized that holograms were not up to scratch; nor were a host of other technologies. “We kissed a lot of frogs,” Gisla said. It was only when they met representatives of Industrial Light & Magic that she felt they had found a company capable of making “really convincing digital humans,” who could be “running, spinning, performing in floodlights.” The key, Ulvaeus said in a video interview, is “for them to emotionally connect with an audience.”During test shoots in fall 2019, the group’s male members “leapt in with no qualms,” Ben Morris, I.L.M.’s creative director, said. (The musicians’ biggest concern? Shaving off their beards. “I was scared what I would find underneath,” Ulvaeus said.) Lyngstad had just had hip surgery and was using a cane. “But we started playing some songs and she slowly slid off the stool, stood up and said, ‘Take my stick away,’” Morris recalled.The following spring, the band was filmed for five weeks by about 200 cameras in Sweden, as it repeatedly played its hits. The British ballet choreographer Wayne McGregor and four body doubles selected from hundreds of hopefuls looked on, with the intention of learning the band’s every movement, stance and expression so they could mimic its members, then extend their movements to develop the show’s final choreography.Steve Aplin, I.L.M.’s motion director for the event, said they went through “literally hundreds” of iterations of each avatar to get them right, and also modeled clothes designed by the stylist B. Akerlund. The hardest to achieve was Andersson, he added, since “his personality is the twinkle in his eye.”From left: Bjorn Ulvaeus, Agnetha Faltskog, Anni-Frid Lyngstad and Benny Andersson in their motion-capture suits.Baillie WalshWhile the Abbatars were being developed, the 10-piece band was being formed and Gisla was fund-raising (the final budget was 140 million pounds, or about $175 million, she said), developing an arena capable of handling all the technology and trying to keep the massive project under wraps. A moment of potential jeopardy came in December 2019, when the team submitted a planning application to the London authorities that had the word “Logo” on technical drawings of the building instead of “Abba,” in the hope no one would investigate further.When the coronavirus pandemic hit, a project that “already seemed ludicrous before Covid” became “doubly ludicrous” Gisla said, since she was asking backers to trust the idea that 3,000 people would want to dance next to each other in the near future. Materials for the arena’s sound insulation almost got stuck outside Britain when a ship jammed in the Suez Canal; the wood for the building’s facade was meant to come from Russia, but was sourced from Germany at increased expense after Russia invaded Ukraine.Asked what he had gone through while making the project, Walsh replied, “A nervous breakdown,” then laughed.Abba Voyage is not the only Abba-themed event in London; the long-running “Mamma Mia!” musical in the West End also regularly attracts boozy bachelorette and birthday parties. Gisla said that like a West End show, Abba Voyage would have to sell about 80 percent of its seats to make a profit. Tickets start at £31, or $38, although few of those cheap seats appear available for the initial run. Attendees pay more — starting at $67 — for a spot on a dance floor in front of the stage.Andersson, the producer, said he obviously hoped Abba Voyage would be a commercial success — as do the members of Abba, who are investors — but he insisted he was happy the team had simply “created something beautiful” after so much toil. Ulvaeus said he wouldn’t be surprised if some of the group’s contemporaries consider a similar undertaking: “If they ask me for advice, of course, I would say, ‘It takes a long time and it’s very expensive.’”The Abba Voyage show features a 10-piece live band and an array of lights, lasers and special effects.Johan PerssonBrenton and Brenda Pfeiffer, from Australia, sharing a kiss after the show.Lauren Fleishman for The New York TimesElla Vaday and Kitty Scott-Claus, competitors on “RuPaul’s Drag Race UK,” attending the opening-night show.Lauren Fleishman for The New York TimesAt Thursday’s premiere, the audience was split between invited celebrities in the stands (including Sweden’s king and queen) and members of Abba’s fan club on the dance floor, yet in both sections people hugged in joy at the sound of beloved songs, and danced and sang along. The fact that the band onstage wasn’t the flesh-and-blood originals didn’t seem to matter. For “Waterloo,” the Abbatars simply introduced a huge video of their 1974 Eurovision performance and danced their way offstage as the crowd cheered wildly.Jarvis Cocker of the band Pulp said he had been left in “a state of confusion” by the show. “I felt very emotional at certain times during that performance, which I’m calling a performance but it wasn’t — it was a projection,” he said. He added, “But I don’t know what it means for the future of mankind.” He suggested avatar shows featuring the Beatles and Elvis Presley wouldn’t be far behind.The fans outside were too overwhelmed to worry about the show’s implications for the live music industry. Teresa Harle, 55, a postal worker who attended with a friend and ran to the front of the arena to get the best view, said she found the avatars so convincing, she even waved at Faltskog when the show ended.“It was a once in a lifetime experience,” Harle said, “even though we’re coming again tomorrow, and Saturday.” More

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      Abba revient après 40 ans de silence

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      The New York Times traduit une sélection de ses meilleurs articles pour un lectorat francophone. Retrouvez-les ici.STOCKHOLM – La paisible petite île de Skeppsholmen abrite une bonne partie des trésors culturels de la capitale suédoise: Moderna Museet, la troupe de théâtre Teater Galeasen et l’entrepôt de briques rouges réaménagé, à deux pas du bord de mer, où Benny Andersson a son studio personnel. Au début du mois, il a glissé dans sa bouche un paquet de snus (de la poudre de tabac consommée en Suède) tandis que Bjorn Ulvaeus sirotait un café dans l’une des salles ensoleillées; les deux musiciens entourés d’un piano à queue, d’une petite sélection de synthés et, sur le mur derrière un écran d’ordinateur, un assortiment de photographies encadrées.Pour la première fois depuis l’administration Reagan, les deux acolytes discutaient d’un nouvel album pour leur groupe, Abba — un album que l’un des plus grands groupes pop internationaux de l’histoire a réussi à réaliser en secret avec ses quatre membres historiques au complet, près de 40 ans après leur dernière représentation ensemble en public.“On a fait une pause au printemps 1982 et on a décidé que là, il était temps d’y mettre fin” a fait savoir le groupe dans un communiqué en septembre. La réponse fut tonitruante. “Abba, encore un autre vaisseau, n’est-ce pas?”. Ulvaeus jubile dans le studio, situé à quelques pas de celui, plus grand, où ils ont achevé leur album clandestin. “On a fait ce truc et on se retrouve à la une de tous les journaux du monde.”Parmi toutes les grandes figures de la pop musique que le pays a vu naître (Avicii, le créateur de tubes Max Martin, Robyn, Roxette), Abba reste la plus importante et a même son propre musée dédié. Entre 1973 et 1981, le quatuor — avec les chanteuses Agnetha Faltskog et Anni-Frid Lyngstad —a sorti huit albums studio remplis de mélodies, d’harmonies et de cordes méticuleusement agencées, qui ont généré 20 succès dans le classement des 100 plus gros titres de la semaine du magazine Billboard, vendu des dizaines de millions d’albums dans le monde et rassemblé une horde de fans passionnés.Mais son impact révolutionnaire ne se mesure pas seulement en chiffres : Le groupe était réputé pour les risques qu’il prenait avec la technologie et la diffusion de ses titres. Dès le milieu des années 1970, il a été l’un des premiers groupes à produire des mini-films promotionnels très élaborés — aujourd’hui on les appellerait des clips — dont la plupart réalisés par Lasse Hallstrom. Son album “The Visitors”, sorti en 1981, est généralement considéré comme la première sortie commerciale sur CD. En 1999, la comédie musicale “Mamma Mia !” a associé les tubes du groupe à une histoire sans aucun rapport avec les paroles. D’innombrables imitations et deux adaptations au cinéma ont suivi, dont une à laquelle on doit la mémorable performance vocale de Meryl Streep dans “Dancing Queen”.Aujourd’hui, Abba se risque à remettre en jeu peut-être son atout le plus précieux : son héritage. Pas seulement en ajoutant de nouvelles compositions à son répertoire, mais aussi en produisant un spectacle sans qu’aucun de ses membres ne soit sur scène en chair et en os. À partir de mai prochain, dans une salle londonienne construite sur mesure, le groupe se produira sous la forme d’avatars (ou, dans ce cas, d’Abbatars) ultra-sophistiqués, conçus pour reproduire leur look de 1979 — l’époque des dégradés bouffants et des costumes de scène flamboyants.Andersson et Ulvaeus dans le studio d’Andersson à Stockholm. Il s’y rend tous les jours pour travailler.Felix Odell pour The New York TimesAndersson, 74 ans, et Ulvaeus, 76 ans, deux des hommes les plus discrets dans une industrie très stressante, disent avoir été sincèrement surpris, et peut-être un peu soulagés, par l’excitation qui a accueilli l’annonce du nouvel album. (L’album de 10 titres appelé “Voyage” comme le spectacle à venir, sort le 5 novembre chez Capitol, le label du groupe).“On était loin d’imaginer que ce serait si bien accueilli” s’étonne Ulvaeus. “Quand on tente sa chance, on risque une raclée”. Difficile à dire s’il faisait intentionnellement référence à l’un des plus gros tubes d’Abba (“Take a Chance on Me” ou “Tente ta chance avec moi”): ces types ont un petit côté pince-sans-rire.Pourtant, ils auraient pu se douter que leurs retrouvailles susciteraient un grand intérêt. Depuis sa mise en veille en 1982, Abba n’a cessé de prospérer. Au fil des décennies et des mutations de la pop, le groupe a dépassé l’étiquette “Europop ringarde” qui leur collait à la peau dans les années 70 —“Nous avons vu l’ennemi dans les yeux, et c’est eux”, assurait le critique américain Robert Christgau en 1979. Abba est aujourd’hui largement respecté pour son savoir-faire pop sophistiqué, et sa popularité tenace transcende les générations et les frontières.“Abba est tout simplement l’un des plus grands groupes de l’histoire de la musique populaire”, estime Michelle Jubelirer, PDG de Capitol Music Group, dans un mail. “Ils sont véritablement un phénomène mondial, et ce depuis qu’ils ont remporté le concours Eurovision de la chanson en 1974 avec ‘Waterloo’.”Et tous les dix ans , quelque chose vient raviver cet engouement, à commencer par la compilation “Abba Gold” de 1992, qui figure toujours dans les charts britanniques plus de 1 000 semaines après sa sortie (j’avais rédigé les notes d’accompagnement de sa réédition en 2010). Les classiques du groupe et ses prouesses en studio continuent de séduire un grand éventail d’amateurs de pop, les fans d’Elvis Costello, de Carly Rae Jepsen, de Jarvis Cocker, de Kylie Minogue et de Dave Grohl. Demandez à Madonna, qui a même fait appel au groupe pour un extrait de “Gimme ! Gimme ! Gimme ! (A Man After Midnight)” pour son tube de 2005 “Hung Up”.Andersson et Ulvaeus auraient facilement pu s’asseoir sur leurs tas de couronnes suédoises, sachant leur place dans le livre des records bien assurée : “Qu’est-ce qu’il y a à prouver ?” s’exclame Andersson. “Ils joueront toujours ‘Dancing Queen’ l’année prochaine.”Ulvaeus s’esclaffe. Le duo se complète toujours parfaitement. C’est presque comique : Andersson est le musicien d’un musicien qui se rend presque tous les jours dans son studio (au volant d’une Toyota ultra-compacte). Ulvaeus, qui a toujours eu un penchant pour l’entreprenariat, mène divers projets avec sa société de production Pophouse Entertainment (et conduit une Tesla rouge).Parce qu’il n’y avait aucune pression à se retrouver, le duo affirme qu’il n’y avait pas vraiment de plan pour un album : C’est arrivé comme ça, quand quatre potes ont réalisé qu’ils aimaient toujours faire de la musique ensemble.Abba en 1979; les avatars numériques des membres du groupe seront calqués sur leurs looks de cette année-là.Sobli/RDB and ullstein bild, via Getty ImagesTout a commencé il y a environ cinq ans, lorsque Simon Fuller, le producteur à l’origine de la franchise “Idol” et des Spice Girls, a proposé de mettre en scène un spectacle de reproductions en 3D des membres du groupe qui “chanteraient” les morceaux originaux, accompagnés d’un groupe de musiciens sur scène.“C’était un choix facile (pour moi) de les pousser à être le premier groupe important à vraiment embrasser les possibilités du monde virtuel”, explique Fuller dans un mail. “La musique d’Abba séduit toutes les générations comme aucun autre groupe ne le fait depuis les Beatles.”Le projet offrait également l’avantage pratique de ne pas avoir à se soumettre à la contrainte de grands concerts.“Ce qui nous a intéressés, c’est l’idée qu’on pouvait les envoyer sur scène pendant qu’on était à la maison en train de faire la cuisine ou de promener le chien”, explique Andersson.Le duo est parti à Las Vegas découvrir l’hologramme du spectacle “Michael Jackson ONE”, et en a vite conclu qu’il lui faudrait faire environ un million de fois mieux. La société d’effets visuels Industrial Light & Magic, célèbre pour “Star Wars”, leur a garanti que c’était possible. (Fuller n’est plus impliqué dans le projet).Naturellement, “les filles”, comme sont affectueusement désignées Faltskog, 71 ans, et Lyngstad, 75 ans, dans les cercles proches du groupe, devaient être de la partie, d’autant que le processus impliquait des semaines de captation de mouvements. Elles ont dit “OK, si ça s’arrête là”, se souvient Andersson. “On ne veut pas partir en tournée. On ne veut pas d’interviews télévisées ni rencontrer de journalistes.” (Fidèles à leur parole, elles n’ont pas participé à ce reportage).Andersson et Ulvaeus décidèrent que les Abbatars devaient avoir de nouvelles chansons, comme cela aurait été le cas avant les tournées de l’époque. En 2017, Faltskog, qui vit hors de Stockholm, et Lyngstad, installée en Suisse, se sont retrouvées au studio RMV, à une centaine de mètres de chez Andersson à Skeppsholmen. Là, elles ont enregistré leurs voix sur la ballade “I Still Have Faith in You” et le titre disco riche en instruments à cordes “Don’t Shut Me Down”. Les deux chanteuses, qui avaient disparu du monde de la musique depuis des années, ont repris comme si de rien n’était.“Elles sont entrées et elles ont dit quelque chose du genre ‘On y va les gars, on peut encore y arriver’,” se rappelle Andersson. “Incroyable.”Faltskog et Lyngstad n’étaient pas les seules conviées. “Benny m’a appelé en me disant un truc comme ‘Tu peux venir au studio, on pense faire une ou deux chansons avec le vieux groupe ?’”, raconte dans un mail le guitariste Lasse Wellander, qui travaille avec le groupe depuis son album éponyme de 1975. “Au début, je n’ai pas compris ce qu’il voulait dire, puis j’ai réalisé qu’il parlait en fait d’Abba!”.Au départ, l’idée était de ne faire que ces deux morceaux, mais ils ne sont pas arrêtés là. “On s’est dit, ‘Pourquoi ne pas en écrire quelques autres, des chansons, juste pour se faire plaisir?,” raconte Andersson. Et les filles ont dit : “Oui, ce sera amusant”. Alors elles sont revenues et on a eu cinq chansons. Et on s’est dit : “On ne devrait pas en faire quelques unes de plus? On pourrait sortir un album.”Il y a eu pas mal de discussions autour de la place qu’aurait un nouvel album dans une discographie déjà si appréciée. “Une partie de la question était, est-ce que cela va nuire à l’histoire d’Abba, à la musique d’Abba”, raconte Gorel Hanser, qui travaille avec les membres du groupe depuis 1969, avant même qu’ils ne s’appellent Abba, et qui fait partie intégrante de son équipe de direction. Elle trouve qu’Andersson avait eu les mêmes préoccupations quand l’idée de “Mamma Mia !” avait fait jour : “Est-ce que c’est la bonne façon de faire ? Est-ce qu’on risque de détruire ce qu’on a ?”, continue-t-elle. “Mais je pense qu’on s’y est très bien pris. On ne néglige rien qui ne puisse être amélioré.”La préparation du spectacle en scène nécessite des heures d’enregistrement dans des costumes capteurs de mouvement.via ABBADans les nouveaux titres, on trouve certains des textes les plus poétiquement doux-amers d’Ulvaeus, sur la difficulté des relations et des séparations. “Je suis moi-même passé par là”, dit-il. “C’est de la fiction mais on sait exactement de quoi on parle.”Pour Andersson, composer à nouveau pour Abba a été un changement bienvenu. “Je trouve que c’est un peu ennuyeux de ne travailler que sur le recyclage”, estime-t-il, ce qui déclenche un vif échange avec Ulvaeus — leur seul désaccord de la journée — sur son choix de mots.“Tu appelles ça du recyclage, j’appelle ça de la narration transcendante”, rétorque Ulvaeus. “Tu peux envoyer, tu peux faire des trucs sur d’autres plateformes, et ”Voyage” c’est ça : ça raconte une histoire sur une autre plateforme. ‘Mamma Mia!’ c’est ça aussi”, ajoute-t-il à propos de la comédie musicale. “Ce n’est pas du recyclage.”D’une certaine manière, l’échange est du pur Abba : décontracté, mais sous-tendu de préoccupations sérieuses. Un peu plus tard, les deux hommes se reprennent à débattre, cette fois à propos de leurs Abbatars. Andersson fait remarquer qu’Ulvaeus a demandé une modification de la chevelure de son alter ego numérique parce qu’il y a une limite à ce que l’on peut accepter de la réalité de 1979. Je lui fait observer que c’est une excellente façon de réécrire un peu l’histoire en restant fidèle à son esprit. Ulvaeus répond, avec un léger sourire, “Oui, c’est une question existentielle très intéressante”. (Ulvaeus, connu en Suède pour son engagement en faveur de l’athéisme et de l’humanisme, apprécie ce genre de questions; plus tard, il me demande : “Dites-moi, est-ce que vous pensez que la constitution américaine est assez solide pour résister à un nouveau président républicain ?”)L’écriture à deux par Andersson et Ulvaeus a résisté aux divorces et aux critiques méprisantes (Un petit rappel : Andersson a été marié à Lyngstad, Ulvaeus à Faltskog). Ils composent ensemble non-stop depuis leur rencontre en 1966, et leur collaboration a continué après Abba, non seulement pour le groupe d’Andersson, mais aussi pour les comédies musicales “Chess” et “Kristina from Duvemåla” — une épopée sur les immigrants suédois du 19ème siècle en Amérique, qui comporte un moment inoubliable sur les poux.S’ils se partageaient le travail de manière assez fluide dans les années 1970, la répartition des tâches est aujourd’hui beaucoup plus précise : Andersson trouve des mélodies et enregistre des démos dans son repère de Skeppsholmen; il les envoie ensuite à Ulvaeus, qui écrit les paroles. Quand on lui demande où en sont ces démos, Andersson propose de jouer “Don’t Shut Me Down” et se tourne vers son ordinateur. Il ne la trouve pas parmi ses dizaines de fichiers, et cherche avec les mots “Tina Charles” — car la chanson d’Abba a une élégance ondoyante qui rappelle les tubes de la chanteuse britannique.Il finit par dénicher non pas la démo, mais la partie instrumentale finie, et la fait entendre sur l’impeccable sound system. La preuve est faite de l’importance cruciale des voix de Faltskog et Lyngstad dans la tapisserie sonore d’Abba.“Tous les groupes connus depuis les années 70 comptaient plus qu’un seul chanteur”, rappelle Andersson, citant Eagles, Fleetwood Mac et Abba. “Vous entendez Frida chanter un morceau, et après vous entendez Agnetha chanter — c’est comme si c’était deux groupes. Le fait qu’il y ait deux chanteuses, ça aide incroyablement la dynamique. Et alors quand elles chantent ensemble…”Dans les harmonies de “Voyage”, on reconnaît indéniablement la patte d’Abba, même si le registre est un peu plus grave que par le passé. L’âge ne suffit pas à expliquer cette différence : “Pour la plupart des morceaux, on les forçait un peu à monter aussi haut que possible, parce que ça donne de l’énergie,” raconte Andersson.“On les incitait, plutôt que forçait”, corrige Ulvaeus.La pop a beaucoup changé en 40 ans, mais “Voyage” ne cherche pas à ressembler à autre chose qu’à du Abba. “Vous écoutez les nouveaux albums, c’est toujours tellement lisse”, regrette Andersson. “Il n’y a rien qui bouge à part le rythme exact. Moi je ne fais pas ça — je le fais à main levée.”Cette approche contribue à donner au nouvel album un côté intemporel. “De nos jours, on peut tout éditer, mais eux ne l’ont pas fait”, nous dit le batteur Per Lindvall, joint par téléphone, qui collabore avec Andersson et Ulvaeus depuis le tube de 1980 “Super Trouper”, et a participé au nouvel album. “Et en plus, ils n’en on pas fait des tonnes sur les voix. C’est ce qui fait ce son unique d’Abba.”Abba en studio, travaillant sur “Voyage”.Ludvig AnderssonPour le nouveau spectacle, en revanche — dans lequel les deux hommes ont investi “une blinde”, selon Andersson, dont le fils Ludvig en est l’un des producteurs — il leur a fallu recourir à davantage de technologie du 21ème siècle, notamment cinq semaines de capture de mouvements. Il leur a fallu se serrer dans des combinaisons moulantes couvertes de capteurs, et Andersson et Ulvaeus ont dû raser leurs barbes chéries.Alors que les différentes pièces de “Voyage” prenaient forme ces deux dernières années, l’ancien leader des Klaxons James Righton a été engagé pour recruter les musiciens pour le live des Abbatars. Parmi ses 10 membres, on compte Victoria Hesketh, 37 ans, dont le nom de scène est Little Boots. Début 2020, elle a répété avec le nouvel ensemble à Stockholm sous la tutelle d’Andersson.Il y a 40 ans, un parcours aussi long et improbable aurait été inimaginable pour quatre Suédois. “Vous devez comprendre à quel point il paraissait impossible avant Abba de percer en Angleterre ou aux États-Unis”, dit Ulvaeus de la scène pop avant la mondialisation rendue possible par internet. “Ce n’était absolument pas plausible”.Pourtant, non seulement Abba a ouvert la voie pour des musiciens du monde entier, mais il l’a fait avec un pragmatisme d’artisans — ce que ses membres restent au fond d’eux-mêmes. “Le fait est que, même à l’époque, ça a toujours été un boulot de tous les jours”, dit Andersson. “On écrivait les chansons, on espérait que quelque chose de bon en sortirait, on se retrouvait au studio, on les enregistrait. Et on se remettait à écrire. C’était exactement pareil qu’aujourd’hui : c’est juste une question d’essayer de trouver quelque chose qui marche, et de voir ce qui se passe.” More

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      After 40 Years, Abba Takes a Chance With Its Legacy

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      STOCKHOLM — The small, tranquil island of Skeppsholmen holds a handful of the Swedish capital’s artistic treasures: Moderna Museet, the theater group Teater Galeasen and the converted red brick warehouse just steps from a waterfront promenade where Benny Andersson has his personal studio. He tucked a packet of the oral tobacco snus in his mouth as Bjorn Ulvaeus sipped coffee in one of its sunbathed rooms earlier this month, the two musicians surrounded by a grand piano, a small selection of synths and an assortment of framed photographs that were perched behind a computer screen.For the first time since the Reagan administration, the pair were discussing a new album by their band, Abba — an album one of the biggest international pop acts in history somehow made in secret, with all four of its original members congregating nearly four decades after giving their last public performance.“We took a break in the spring of 1982 and now we’ve decided it’s time to end it,” the group said in a statement in September. The response was thunderous. “Abba is another vessel, isn’t it?” Ulvaeus marveled at the studio, just steps from the larger one where they completed their clandestine LP. “We did this thing and we are on the front page of every paper in the world.”In a country known for producing towering figures in pop music (Avicii, the hitmaker Max Martin, Robyn, Roxette) Abba still looms the largest, and even has its own permanent museum. Between 1973 and 1981, the quartet — which includes the singers Agnetha Faltskog and Anni-Frid Lyngstad — released eight studio albums filled with meticulously crafted melodies, harmonies and strings that have generated 20 hits on Billboard’s Hot 100 chart, sold tens of millions of albums around the world and built a passionate fan base.But its paradigm-shifting impact can’t be measured only in numbers: The group was known for taking risks with technology and the use of its songs. Starting in the mid-1970s, it was among the first acts to make elaborate promotional mini-films — we’d call them music videos now — most of them directed by Lasse Hallstrom. Its 1981 album “The Visitors” is generally acknowledged as the first commercial release on compact disc. The 1999 jukebox musical “Mamma Mia!” paired the group’s hits with an unrelated plot, sparking a slew of imitators and two film adaptations that brought us the spectacle of Meryl Streep singing “Dancing Queen.”Now Abba is risking perhaps its most valuable asset — its legacy — by not only releasing a fresh addition to its catalog, but creating a stage show that features none of its members in the flesh. Starting in a custom-built London venue next May, the group will perform as highly sophisticated avatars (or in this case, Abbatars) designed to replicate their 1979 look — the era of feathered hair and flamboyant stage wear.Andersson and Ulvaeus in Andersson’s Stockholm studio, where he continues to work daily.Felix Odell for The New York TimesAndersson, 74, and Ulvaeus, 76, two of the most low-key men in a high-stress industry, said they were genuinely surprised, and possibly a little relieved, by the excitement that greeted the new album’s announcement. (The 10-track “Voyage,” which shares its name with the forthcoming live show, is out Nov. 5 on Capitol.)“We had no idea it would be so well received,” Ulvaeus said. “You just take a chance, you risk a thumping.” It was hard to tell if he was echoing the title of one of Abba’s most famous songs on purpose; these guys have a way with dry humor.Still, they might have had an inkling a reunion would spur interest. Since it went offline in 1982, Abba has continued to thrive. Conversations about pop have shifted over the decades, helping the group overcome the “cheesy Europop” tag that often stuck to it during its 1970s prime — “We have met the enemy and they are them,” the American critic Robert Christgau wrote in 1979. Abba is now widely respected as a purveyor of sophisticated pop craftsmanship, and its enduring popularity transcends generations and borders.“Abba is simply one of the biggest groups in the history of popular music,” Michelle Jubelirer, president and chief operating officer of Capitol Music Group, wrote in an email. “They are truly a global phenomenon, and have been so since they won the Eurovision Song Contest in 1974 with ‘Waterloo.’”And every decade or so, something has rekindled interest, starting with the 1992 compilation “Abba Gold,” which is still on the British charts more than 1,000 weeks after its release (I wrote the liner notes to a 2010 reissue). The band’s classic songcraft and studio wizardry continues to bridge musical allegiances, drawing fans as diverse as Elvis Costello, Carly Rae Jepsen, Jarvis Cocker, Kylie Minogue and Dave Grohl. Just ask Madonna, who directly appealed to the group for a sample of “Gimme! Gimme! Gimme! (A Man After Midnight)” for her 2005 hit “Hung Up.”Andersson and Ulvaeus could easily have just sat on their piles of kronor, with the knowledge that their place in the record books was secure: “What is there to prove?” Andersson said. “They’ll still play ‘Dancing Queen’ next year.”Ulvaeus chortled. The duo still complement each other almost comically perfectly: Andersson is a musician’s musician who goes to his studio almost every day (and drives an ultracompact Toyota). Ulvaeus, who has always had an entrepreneurial bent, continues to pursue various projects with his production and hospitality company Pophouse Entertainment (and pilots a red Tesla).Because there was no pressure to reunite, the pair say there was no grand plan for an album: It just kind of happened when four friends realized they still enjoyed making music together.Abba in 1979; the band members’ digital avatars will be modeled on their looks from that year.Sobli/RDB and ullstein bild, via Getty ImagesIt all started about five years ago, when Simon Fuller, the producer behind the “Idol” franchise and the Spice Girls, pitched a show starring 3-D reproductions of the group’s members “singing” the original vocal tracks backed by a live band.“It was an easy choice (for me) to empower them to be the first important group to truly embrace the possibilities of the virtual world,” Fuller said in an email. “Abba’s music appeals to all generations unlike any group since the Beatles.”The project also had appealing practical benefits for people unwilling to submit to the grind of big concerts.“What interested us was the idea that we could send them out while we can be at home cooking or walking the dog,” Andersson said.The pair traveled to Las Vegas to check out the hologram used in the Cirque du Soleil show “Michael Jackson ONE,” and their main takeaway was that they would have to do roughly a million times better. The visual-effects company Industrial Light & Magic, of “Star Wars” fame, assured them it could happen. (Fuller is no longer involved in the project.).css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-1kpebx{margin:0 auto;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-1kpebx{font-size:1.25rem;line-height:1.4375rem;}}.css-1gtxqqv{margin-bottom:0;}.css-1g3vlj0{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-1g3vlj0{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-1g3vlj0 strong{font-weight:600;}.css-1g3vlj0 em{font-style:italic;}.css-1g3vlj0{margin-bottom:0;margin-top:0.25rem;}.css-19zsuqr{display:block;margin-bottom:0.9375rem;}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-qjk116{margin:0 auto;overflow:hidden;}.css-qjk116 strong{font-weight:700;}.css-qjk116 em{font-style:italic;}.css-qjk116 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:visited{color:#326891;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:hover{-webkit-text-decoration:none;text-decoration:none;}Naturally, “the girls,” as seemingly everybody in the band’s close circles good-naturedly calls Faltskog, 71, and Lyngstad, 75, had to be onboard, especially since the process would involve weeks of motion capture. “They said ‘OK, if that’s it,’ ” Andersson recalled. “‘We don’t want to go on the road. We don’t want to do TV interviews and meet journalists.’” (They kept their word and didn’t participate in this story.)Andersson and Ulvaeus decided that the Abbatars should have some fresh material because that’s what would have happened before a tour back in the day. In 2017 Faltskog, who lives outside Stockholm, and Lyngstad, who lives in Switzerland, traveled to RMV studio, a hundred yards from Andersson’s base on Skeppsholmen. There, they put down their vocals on the ballad “I Still Have Faith in You” and the string-laden disco of “Don’t Shut Me Down.” The two singers, who have been out of the music business for several years, picked up right where they left off.“They come in and they just, you know, ‘Here you go guys, we can still do this,’” Andersson said. “Amazing.”Faltskog and Lyngstad weren’t the only ones beckoned to work. “Benny called me saying something like, ‘Can you come to the studio, we’re thinking of making one or two songs with the old band?’” the guitarist Lasse Wellander, who has been working with the group since its self-titled album from 1975, wrote in an email. “At first I didn’t understand what he meant, then I realized he actually meant Abba!”The original plan was to do just those two tracks, but they kept going. “We said, ‘Shouldn’t we write a few other songs, just for fun?’” Andersson recalled. “And the girls said, ‘Yeah, that will be fun.’ So they came in and we had five songs. And we said, ‘Shouldn’t we do a few others? We can release an album.’”There were conversations about how the new LP would fit into a beloved discography. “Part of it was, is this in any way harming the history of Abba, the music of Abba?,” said Gorel Hanser, who has been working with the band members since 1969, before they called themselves Abba, and is integral to the group’s management team. She said she thought Andersson addressed those concerns when the idea first arrived for “Mamma Mia!”: ‘“Are we doing it the right way? Are we destroying what we have?’” she said. “But I think it’s been very well taken care of. We don’t leave anything without doing it as best as we possibly can.”The process of preparing for the stage show involved hours in motion-capture suits.via ABBAThe new songs feature some of Ulvaeus’s most poetically bittersweet lyrics, with references to the difficulty of relationships and separation. “I’ve been through that myself,” he said. “It’s fiction but you know exactly what it’s like.”For Andersson, coming up with fresh Abba material was a welcome shift. “I think it’s sort of boring to only work on recycling,” he said, inadvertently sparking a back and forth with Ulvaeus — their only disagreement of the day — over his choice of words.“You call it recycling, I call it transcendent storytelling,” Ulvaeus said. “You can lift, you can do things on other platforms, which is what ‘Voyage’ is: it’s telling a story on another platform. That’s what ‘Mamma Mia!’ is, too,” he continued, referring to the musical. “It’s not recycling.”In a way the exchange was pure Abba: easygoing, but undergirded by serious concerns. Another chance for debate came up when the two men were discussing their Abbatars. Andersson remarked that Ulvaeus had requested a change to his digital alter ego’s hair because there is only so much 1979 realness anybody can take. When I remarked that it was a great way to rewrite a little bit of history while still being faithful to its spirit, Ulvaeus replied, with a slight smile, “Yes, it’s such an interesting existential question.” (Ulvaeus, known in Sweden for his commitment to atheism and humanism, enjoys such questions, later asking, “So, do you think the American constitution is strong enough to withstand another Republican president?”)The Andersson-Ulvaeus songwriting bond has withstood intraband divorces and the pressure brought on by critical scorn. (For those who have forgotten: Andersson used to be married to Lyngstad, Ulvaeus to Faltskog.) They have been writing together nonstop since meeting in 1966, and their post-Abba collaborations include songs for Andersson’s band as well as the musicals “Chess” and “Kristina from Duvemåla,” an epic about 19th-century Swedish immigrants to America that includes the rare showstopper about lice.While the division of labor used to be fluid in the 1970s, it is now much more clear-cut: Andersson comes up with melodies and records demos in his Skeppsholmen lair then sends them to Ulvaeus, who writes the lyrics. Asked how elaborate those demos are, Andersson volunteered to play “Don’t Shut Me Down,” and walked over to his computer. Then he couldn’t find it among his dozens of files, searching “Tina Charles” since the Abba song has a slinky vibe like one of the British singer’s hits.He eventually unearthed not the demo but the finished backing track, and cranked it up on the immaculate sound system, providing a great example of how crucial Faltskog and Lyngstad’s voices are to Abba’s sonic tapestry.“All the various successful groups since the ’70s have had more than one singer,” Andersson said, mentioning Eagles and Fleetwood Mac, alongside Abba. “You hear Frida sing one song and then you hear Agnetha sing — it’s like two bands. The dynamics are helped immensely by the fact that there are two. And then when they sing together …”Their harmonies on the “Voyage” album bear the unmistakable Abba stamp, even if the register is a bit lower than it used to be. Age alone does not account for the difference: “We used to sort of force them to go as high as they could on most of the songs because it gives energy,” Andersson said.“We urged rather than forced,” Ulvaeus interjected.A lot has changed in pop in the past 40 years, but “Voyage” makes no attempt to sound like anything other than Abba. “You listen to new records, it’s always so slick,” Andersson said. “There’s nothing moving aside of the exact rhythm. I don’t do that — I do it by free hand.”The approach helps makes the new album feel timeless. “Nowadays you can edit anything, but they didn’t,” the drummer Per Lindvall, who has been collaborating with Andersson and Ulvaeus since the song “Super Trouper” in 1980 and plays on the new album, said on the phone. “They also haven’t been pitching the vocals to death. It’s part of the unique Abba sound.”Abba in the studio while working on “Voyage.”Ludvig AnderssonThe new show — in which the two men have invested “a big chunk,” according to Andersson, whose son Ludvig is one of its producers — did require a bit more 21st-century technology, including five weeks of motion capture. That involved squeezing into tight suits covered in sensors, and required Andersson and Ulvaeus to shave their beloved beards.As more pieces of the “Voyage” project fell into place over the past couple of years, the former Klaxons frontman James Righton was enlisted to recruit the Abbatars’ live backing band. Its 10 members include Victoria Hesketh, 37, who performs as Little Boots. In early 2020, she practiced with the newly formed ensemble in Stockholm, under Andersson’s tutelage.“It was a strange combination of being pushed technically so hard, but at the same time being so full of joy in every moment,” she said in a phone interview. “I could see Benny chuckling to himself behind the mixing desk.”Four decades ago, this long, improbable journey was unimaginable for four Swedes. “You have to understand how impossible it seemed right before Abba to have hit records in England and the U.S.,” Ulvaeus said of the pop landscape before the internet globalized it. “It was absolutely not in the cards.”Yet not only did Abba break down barriers for musicians around the world, it did it with the matter-of-fact pragmatism of artisans — which is what its members remain at heart. “The thing is, it has always been like day-to-day work, even then,” Andersson said. “We would write the songs, hope that something good will come out, go to the studio, record those songs. And then we wrote some more. Exactly the same as now: It’s not about anything else than trying to come up with something good, and see what happens.” More