The idea of holographic performances -- where a lifelike digital representation of an artist performs on stage -- has captured the public imagination since a holographic Tupac Shakur appeared at Coachella in 2012. Since then, holographic shows featuring deceased artists, virtual pop stars, and augmented live performances have generated headlines and debate. But are holographic performances genuinely heading toward mainstream adoption at UK events, or do they remain a novelty? The answer requires separating the marketing hype from the technical and commercial reality.
What the technology actually is
First, a clarification: most "holographic" performances are not true holograms. A true hologram is a three-dimensional image created by the interference of light beams, viewable from multiple angles without special glasses. What audiences typically see at concerts is a technique called Pepper's Ghost, where a high-definition projection is reflected off a transparent surface (usually a thin foil or glass angled on the stage) to create the illusion of a three-dimensional figure.
This distinction matters because Pepper's Ghost has significant limitations. The "hologram" is best viewed from directly in front of the stage. Move too far to the side and the illusion breaks down. The stage needs specific lighting conditions, and the projection surface can be affected by wind at outdoor events. The effect is impressive but not yet indistinguishable from a real performer.
True volumetric displays -- which create genuine three-dimensional images viewable from any angle -- do exist in laboratory settings, but they are currently far too small and expensive for concert-scale deployment. This technology may eventually reach the point where stadium-scale holographic performances are possible, but that day is likely years or decades away.
Where holographic shows have been used
Several notable holographic performances have taken place, providing data points for assessing the technology's commercial viability.
ABBA Voyage in London, which opened in 2022 at a purpose-built arena in the Queen Elizabeth Olympic Park, is the most successful holographic show to date. The show features digital versions of ABBA's members performing alongside a live band. It has been a significant commercial success, selling millions of tickets and receiving broadly positive reviews. However, it is worth noting that ABBA Voyage uses a custom-built venue designed specifically for the technology, with proprietary projection and motion capture systems that cost hundreds of millions of pounds to develop.
Touring holographic shows featuring deceased artists -- including Roy Orbison, Buddy Holly, and others -- have had more mixed results. Some have sold well in initial runs but struggled to sustain audience interest beyond the novelty factor. Reviews have been varied, with some audience members finding the experience emotionally moving and others describing it as uncanny or unsatisfying.
The cost barrier
The fundamental challenge for holographic performances becoming mainstream is cost. ABBA Voyage reportedly cost over £140 million to develop and produce. Even simpler holographic setups require specialised projection equipment, transparent screens, high-quality content creation (often involving motion capture), and technical expertise that far exceeds the requirements of a standard live performance.
For a typical UK venue or festival, the economics do not currently work. The equipment costs, technical requirements, and content creation expenses are prohibitive for anything other than high-budget, long-running productions or major corporate events. A grassroots music venue or mid-size festival cannot justify the investment required for a convincing holographic performance. For insight into how holographic technology is developing more broadly, see our earlier piece on the subject.
What might work in the near term
While full holographic performances remain expensive and technically demanding, several related technologies could become more common at UK events in the near term.
Augmented reality (AR) overlays. Rather than projecting a full holographic performer, AR technology allows audience members to see digital elements overlaid on the real performance through their smartphones or AR glasses. This is significantly cheaper than stage-based holographic systems and can add visual spectacle to live performances without replacing them.
LED wall and projection mapping. Advanced LED walls and projection mapping technology can create immersive visual environments that, while not holographic, provide a sense of three-dimensionality and spectacle. These technologies are already widely used at UK events and concerts, and their quality continues to improve while costs fall.
Small-scale holographic displays. Smaller holographic displays -- tabletop or booth-sized -- are becoming more affordable and could appear at events as interactive installations, wayfinding aids, or novelty attractions without the expense of a full stage-scale system.
The audience reception question
Even if the technology becomes affordable, there is a fundamental question about whether audiences genuinely want holographic performances. The appeal of live events is rooted in liveness -- the knowledge that what you are watching is happening in real time, performed by a real person, and will never be exactly repeated. A holographic performance, no matter how technically impressive, lacks this quality.
The success of ABBA Voyage suggests that audiences will accept digital performers in specific contexts -- particularly when the original artists cannot perform live. But it is not clear that audiences would choose a holographic show over a live performance by a real artist, given the choice. The technology is likely to find its strongest application in situations where live performance is not possible: tribute shows, immersive experiences, and augmented live performances rather than replacements for them.
A realistic timeline
Based on the current state of the technology and its economics, a realistic assessment for the UK events market looks something like this:
- Now to 2028: Holographic shows remain rare and expensive, limited to high-budget productions like ABBA Voyage and occasional touring shows. AR and projection mapping become more sophisticated at mainstream events.
- 2028 to 2032: Improved and cheaper projection technology may make modest holographic effects accessible to mid-budget productions. Corporate events and brand activations could adopt holographic elements more widely.
- Beyond 2032: Genuine volumetric display technology might begin to reach performance-scale, but widespread adoption at grassroots or mid-size events remains unlikely until costs fall dramatically.
Holographic performances are not going to replace live artists at UK events any time soon. They will likely become an additional tool in the production toolkit -- used for specific creative effects, tribute shows, and high-budget spectacles -- rather than a mainstream alternative to the irreplaceable experience of watching a real human being perform live on stage.
