Brian May hints Queen will be stars of new Abba Voyage-style AI hologram show
Queen could be the next megastars to step into the world of high-end digital performances. Guitarist Sir Brian May has teased that he and drummer Roger Taylor are actively exploring an immersive show that would revive the band’s classic line-up in a cutting-edge, Abba Voyage-style production.
May, 78, suggested that modern tools—ranging from real-time graphics to large-format immersive venues—could allow fans to feel the energy of Queen’s original incarnation with Freddie Mercury and John Deacon. He said the goal wouldn’t be to simply screen archival footage, but to rebuild the Queen experience as if it were being created today, using contemporary production and visual wizardry to place audiences in the heart of the performance.
Speculation around such a project has simmered for a while, especially after a trademark filing related to Freddie Mercury’s name in 3D and virtual reality contexts stoked rumors of a forthcoming holographic or avatar-led show. At the time, the band’s camp offered no concrete update—but May’s latest comments signal the concept is very much on the table.
Roger Taylor, 76, recently reflected on the state of avatar shows after seeing Abba’s trailblazing residency. He said he had fun but felt the projections weren’t entirely convincing, adding that the technology has already surged forward since that production launched. In his view, dramatically more is now possible. Taylor also believes Mercury would be delighted that Queen’s music remains vital and widely celebrated, noting that while he and May “can still play,” the duo are weighing all options as they get older and as the tech evolves at a rapid clip.
From a technical standpoint, a Queen production could push past what audiences have seen so far. Expect a blend of AI-enhanced performance reconstruction, photoreal digital doubles, and spatial audio designed to replicate Queen’s stadium-shaking presence. Volumetric capture and neural rendering could fuse with motion data from live performers, while AI-driven audio separation might isolate Mercury’s classic vocals with unprecedented clarity for a dynamic mix in modern venues. Think immersive domes or next-gen arenas—The Sphere in Las Vegas was singled out by May as the kind of environment capable of delivering a truly enveloping Queen experience.
Crucially, the ambition appears to be authenticity through reinvention: not a museum display of the past, but a living, breathing Queen show that channels the swagger, precision, and theatricality that defined the band’s imperial era. That could mean a setlist spanning the likes of Bohemian Rhapsody, Killer Queen, Crazy Little Thing Called Love, and We Are The Champions, staged with contemporary visual language and interactive lighting that responds to the music in real time.
The ethics and artistry of posthumous “returns” are always in the discourse with projects like this, but Queen’s approach—guided by May and Taylor—suggests a careful, artist-led interpretation rather than a novelty. If the project proceeds, expect a meticulous blend of archival material, new performance data, and real-time graphics pipelines that aim to honor Mercury’s legacy while giving today’s audiences a visceral window into the band’s prime.
Queen’s commercial footprint remains formidable: six UK No 1 singles and 10 UK No 1 albums are testament to a catalog that continues to find new listeners. With interest in immersive concerts surging—and the underlying tech evolving by the month—the timing feels right for Queen to define what the next generation of avatar-led shows can be.
No launch window has been confirmed, and details remain under wraps. But the message is clear: May and Taylor are actively exploring how to resurrect the electricity of Queen’s original lineup using state-of-the-art tools. If it materializes, this could be the benchmark against which all future music-avatar productions are measured.
