During a panel session at the 2025 Eurosonic Noordenslag (ESNS), a group of executives shared the recent music tech innovations they predict will change the global live scene.

Hosted by Music Tech Europe co-founder Yvan Boudillet, panellists included MusicTech Japan MD Takayuki Suzuki, shesaidso co-director Maiju Talvisto, ComeTogether co-founder Stathis Mitskas and Effenaar director Jos Feijen.

Major themes revolved around best practices for fan engagement, utilising data to expand reach and strengthen engagement and unique attributes of their specific markets.

Feijen launched the discussion by highlighting the experimental work Effenar Lab is focusing on, including measuring audiences’ emotions via brainwave to deliver a better live experience and the creation of digital twins in holographic form.

Initiatives like these create “a completely different way of thinking about how to involve in your audience”, Feijen says.

Placing fans at the forefront of live experiences is key, as echoed by Suzuki. He delved into the ‘superfan’ culture of Japan and explained exclusive artist or promoter fan clubs, in which audiences pay a fee — which helps fund the label and artists’ activity — and get access to exclusive pre-sale access, among other benefits.

“It’s a transformation of the value chain and the mindset of the fanbase,” he says.

Advancements in ticketing were another core theme of the discussion, as ComeTogether’s Mitskas, shesaidso’s Talvisto and Music Tech Europe’s Boudillet discussed how best to harness and utilise ticketing data.

“Live is a perfect lab for more than music”

Boudillet posed how to capture and utilise secondary ticketing data to further expand data sets for artists and touring markets, while Mitskas conceptualised individual-to-individual link distribution to help build accurate and engaged data sets.

Maiju highlighted Coldplay’s combination of activism and ticket sales to further their ideologies, specifically within their own fanbases.

She went on to discuss how technology could help mix up and expand bookings across one-off shows and festival lineups, with inclusion being a necessary facet of fan engagement.

“Festival booking, for example, is very pale and very male … Hopefully tech would help diversify lineups and ease bookings and make it easier to tap into a whole sector that could be used much more,” she says.

On a general point, the panellists also flagged the need for walls between artist teams, labels, promoters, and ticketing companies to be reduced to create a more cohesive approach to live experiences.

The conversation wrapped up with a nod to how live could lead to further developments in non-cultural spheres, like medical and educational advancements.

“Live is a perfect lab for music and more: it’s for society,” Boudillet concluded.

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Los Angeles-based virtual reality concert platform AmazeVR has teamed with K-pop juggernaut SM Entertainment to form joint venture Studio A.

Based in Seoul, South Korea, the “industry-leading VR concerts production deal” will pool AmazeVR’s technology with SM’s extensive artist network.

Concerts will be distributed exclusively through AmazeVR and SM’s VR music metaverse services.

“SM is excited to expand our market to include metaverse content for artists using AmazeVR’s industry-leading VR technologies and proprietary concert creation tools. We’ve had a great interest in this market and see the opportunity for our artists in the metaverse,” says Sung-su Lee, CEO of SM Entertainment. “AmazeVR shares the same vision for this next generation of music.”

“We’re going to see some phenomenal VR concerts”

AmazeVR partnered with Megan Thee Stallion on her recently completed Enter Thee Hottieverse virtual reality concert tour, which took place in 10 cities across the US between April and July. Ticket-buyers were able to go to their local movie theatre, put on VR headsets and hang out in the “VR Hottieverse lobby” before watching the rapper. The VR concert performance featured a multi-song set that moved through a series of environments and featured custom wardrobes designed just for the show.

Leading entertainment company SM’s new girl group Aespa recently made their debut in the metaverse and played their first US live show at Coachella 2022. Other artists on SM’s roster include NCT, Super Junior, Girls’ Generation, Shinee, Exo, Red Velvet, SuperM, TVXQ, and BoA.

“We’re thrilled at the prospect of working with SM to collaborate with K-pop and other Asian artists, as well as other Asian music companies, through our new partnership.” says AmazeVR co-CEO Ernest Lee. “We’re going to see some phenomenal VR concerts. They’ve influenced K-pop globally, united the music industry across the continent, and brought unique and energetic performances to worldwide audiences,”

“Our JV partnership with SM Entertainment will deliver mesmerising, fully immersive VR concerts featuring mega K-Pop stars,” adds AmazeVR co-CEO Steve Lee.” Never before have fans been able to experience their favourite artists in such an intimate and personal way.”

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LA-based startup AmazeVR has raised $9.5 million in new funding to accelerate the company’s growth in the world of virtual reality concerts.

The virtual reality content service specialises in ‘the highest-fidelity performances in surreal CG worlds’, which can be viewed on the AmazeVR immersive tour bus, in cinemas and via the AmazeVR app.

Last week the company announced funding from a number of global investment firms including Murex Partners, We Ventures, Bass Investment, and Dunamu & Partners. Existing investors including Mirae Asset Venture Investment, Mirae Asset Capital, Partners Investment and Timewise Investment also participated in the funding round.

According to the company’s announcement, the funding will be used to hire additional staff as AmazeVR “rapidly scales to meet demand, secures top artists for future projects, and invests in product innovation to ensure the highest quality productions”.

“As more consumers gain access to VR technologies, there is enormous potential for immersive concerts”

According to PitchBook Data, the latest funding round brings the total amount raised by the company to just over $34m since 2015, when the company was launched by the founders and former executives of South Korean-based mobile platform company Kakao.

In 2019, the company underwent a rebrand and honed in on virtual concerts as its primary focus before partnering with hip-hop duo Ceraadi on its debut immersive concert, the following year.

Ceraadi’s debut immersive concert experience, initially scheduled for release in late 2020, has been rescheduled for later this year when it’s safe to hold an in-person launch.

The company said it plans to make upcoming shows available to more viewers through a partnership with Canadian company D-Box Technologies, which manufactures haptic motion systems used in cinemas, theme parks and simulation devices.

“As more and more consumers gain access to VR technologies — be they through headsets, theatres, or even their phones — there is enormous potential for immersive concerts,” AmazeVR co-CEO Ernest Lee said in a statement.

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Among the music-related innovations at this year’s Consumer Electronics Show (CES), which is taking place online from 11 to 14 January, are an ‘immersive reality’ concert experience by Sony, a virtual influencer and DJ created by LG, and Samsung’s in-car Live Interactive Virtual Experience (LIVE).

Japan’s Sony Corporation used motion-capture technology to recreate US singer Madison Beer as a CGI avatar for a performance of her song ‘Boyshit’, placing her in a virtual replica of Sony Hall (1,000-cap.) in New York, as seen in the video above.

The event was spearheaded by a newly launched division of Sony Corporation of America, Sony Immersive Music Studios.

A longer performance by Beer, who is signed to Sony Music-owned Epic Records, featuring a medley of songs from her upcoming debut album, Life Support, will made available on Oculus VR and PlayStation VR, as well as 2D platforms, later this year.

Sylvia Rhone, Epic’s CEO, says: “Madison Beer is raising the bar of what’s possible in a virtual concert performance and we couldn’t be more excited. With this cutting-edge collaboration of music and technology, Madison has brought her innovative vision to life in a unique way while taking it to new heights.

“Madison Beer is raising the bar of what’s possible in a virtual concert performance”

“This is another example of Epic’s commitment to empower our artists with groundbreaking opportunities to expand their creative options and engage fans through immersive experiences.”

In addition to the Madison Beer event, CES also sees Sony make available a live performance by Zara Larsson (another Epic artist) in 360° immersive sound as an on-demand stream.

For Samsung, CES represented another opportunity to showcase Harman’s LIVE technology, which, as IQ reported last week, would enable concertgoers to interact with artists from behind their steering wheels.

Elsewhere, compatriot LG introduced Reah Keem, an entirely fictional person who hosted the company’s livestreamed CES keynote unveiling its range of CLOi UV-C robots.

As seen on her Instagram page, Keem introduced herself as a songwriter and DJ (as well as a keen international traveller) who’s “so excited to be showing you some of the latest and coolest

Despite being entirely computer generated, Keem does have music to listen to: check out her (so far) only single, ‘Comino Drive’, on her SoundCloud account.

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Lost Horizon, the VR music venue created by the team behind Glastonbury’s Shangri-La, has announced its first season of virtual events in VR event platform Sansar.

The season will take place throughout December, playing host to DJs, underground acts and visual artists, before culminating with ‘Chasing Midnight’, a 24-hour global celebration on New Year’s Eve, taking in 12 time zones and 12 countdowns.

Lost Horizon launched its premiere festival in July, a four-stage event in Sansar featuring artists including Carl Cox, Fatboy Slim, Pete Tong, which reached 4.36m viewers, according to organisers.

Commenting on the upcoming season of events, Robin Collings, co-director of Lost Horizon, says: “We are incredibly excited to launch the second phase of Lost Horizon with a raft of exciting shows in December, plus we have some huge plans for 2021 and beyond. In these troubled times, our mission is to bring some joy and real culture into people’s lives.

“In these troubled times, our mission is to bring some joy and real culture into people’s lives”

“Lost Horizon’s virtual platform offers so much more than other VR events, allowing people to connect with their friends and meet people from around the globe, you can literally chat, live using your computer’s mic and speakers, to other people in the virtual world, while watching some amazing DJs and live music! Real events in a virtual world”.

The acts, which are yet to be announced, will perform across six customisable areas in the virtual venue, including festival stage Freedom; 360-degree digital arena the Gas Tower; media centre SHITV; underground club Nomad; plus a virtual open-air art gallery and the interactive Landing Zone, which features merch stalls, art, seating and info points recreating the festival experience.

Viewers can explore the interactive, multi-stage venue in Sansar via PC and VR, web browser or app. The season’s events will also be streamed live, globally.

Prior to Lost Horizon’s season of events in December, the virtual reality venue will host the 18th edition of London Mela, the UK festival of South Asian culture.

For 2020 London Mela – usually held in Southall Park, west London – becomes Melatopia, a VR event taking place online on 7 and 8 November 2020, and featuring the same mix of music, dance and culture from the Indian subcontinent and surrounding countries.

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The 18th edition of London Mela, the UK festival of South Asian culture, will be held in a virtual-reality venue created by the team behind Lost Horizon.

For 2020 London Mela – usually held in Southall Park, west London – becomes Melatopia, a VR event taking place online on 7 and 8 November 2020, and featuring the same mix of music, dance and culture from the Indian subcontinent and surrounding countries.

As with Lost Horizon, which was seen by four million people in 100 countries, Melatopia viewers will be able to experience live artists, DJs and dance performances in a virtual world created especially for the event, and on a range of platforms, including smartphone, tablet, computer or virtual-reality (VR) headset.

Like Lost Horizon, Melatopia will be built using Sansar, Wookey Technologies’ platform for virtual live events.

“We want to build festivals that the whole world can attend”

Performers will include headliner the Raja Kumari, bhangra legend Panjabi MC, Juggy D and Pandit Ram Sahai Sangeet Vidhyalaya, qawwali star Chand Ali Khan and BBC Future Sounds artist Celina Sharma. All artists will be recorded exclusively for the festival.

Remarkable Productions’ Julian Rudd, producer of London Mela, comments: “Remarkable Productions is really excited to be working at the coalface of digital, VR and online festival production with such impressive partners.”

“In these dark days for artists around the world, Melatopia represents hope and opportunity that there is a future for our sector,” he adds. “Alongside Nutkhut and Mela Partnership, we are proud to present Melatopia, the world’s first truly global VR mela festival of desi culture.”

Lost Horizon’s Chris Macmeikan MBE says Melatopia is a proof of concept that, once built, “like a real venue” can be used multiple times.

“We want to build festivals that the whole world can attend,” adds Macmeikan. “In July of this year, our innovative work with VR and streaming at Lost Horizon attracted over 4m people from over 100 countries.

“Melatopia is an exciting new opportunity to bring this international diaspora of people together”

“That is why we are so excited that our second project is with London Mela. London Mela is already a hub to the entire Asian diaspora. Now, we will create the world’s first global mela together.”

“When a global diaspora meets new technology, change happens,” comments Ajay Chhabra, artistic director of Melatopia. “The South Asian presence in Silicon Valley is completely engaged with Mela, and Melatopia is our way of bringing people together in a time of isolation.

“Change creates challenging new opportunities. With so much change occurring all around us, from the very personal loss of loved ones to the major change artists and communities are facing the world over, Melatopia is our way to keep fearless ambition alive, to be bold, to take risks and to create a new platform for what we know best: the coming together of community and artists to create a new utopia – Melatopia.

“The South Asian diaspora is international, with a footprint on every major continent, in every major city globally. In a time of isolation, Melatopia is an exciting new opportunity to bring this international diaspora of people together, by using new technology and cross arts to form connections to a new and intergenerational audience.”

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Carl Cox and David Guetta are the first artists announced to perform in the Sensorium Galaxy, a new VR “social metaspace” in which users can attend alternative-world concerts, nightclubs and festivals through a VR headset or streaming.

Sensorium Galaxy, which is due to launch publicly in early 2021, has already been backed by Jay-Z’s streaming service Tidal, which spent US$7 million on tokens issued by the platform’s company, acquiring access to broadcast its content within the platform.

Grammy award-winning DJ and producer David Guetta was the first artist announced to “join” the platform – which is also backed by Forbes-listed billionaire Mikhail Prokhorov – followed shortly by Carl Cox.

Each DJ will appear as virtual representations for their exclusive performances in Prism, a content hub in the Galaxy dedicated to music concerts and festivals, which is being developed in partnership with Yann Pissenem, CEO and founder of The Night League and creator of nightclubs Hï Ibiza and Ushuaïa Ibiza.

“Having David come on board as the first DJ to join Prism World is sending a clear message: VR is the future of social networking and content distribution,” says Pissenem.

“David and I have been working together for more than two decades now. He is a genius that has always been ahead of the curve with music and understands the vision of what we will deliver with Sensorium Galaxy.

“VR tech allows us to transcend the physical world and create unprecedented shows that will revolutionise the industry”

“Working with VR technology allows us to transcend the limits of the physical world and create unprecedented shows that will revolutionise the industry. It is going to be like nothing that has ever come before.”

Since its foundation, Sensorium Corporation has raised over $100 million in private investments, making it one of the world’s best-funded startups in the VR space.

Artist-backed Tidal has been making plays elsewhere in the VR market too, recently partnering with Facebook’s platform Occulus.

The partnership will spawn a series of intimate live performances from ‘the biggest names in music’ that can be streamed in virtual reality on the Venues app (available on the Oculus Quest) and in 2D video and high-quality audio on Tidal, later this year.

Facebook launched the Venues app, described as “the companion app to live events,” in June this year.

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Mad Zoo, a startup specialising in virtual live festival experiences, has announced the line-up for Stratosfest, an event taking place within the best-selling video game of all time, Minecraft.

Stratosfest will take place on 23 and 24 October, featuring exclusive sets from Above & Beyond, Ferry Corsten, Ilan Bluestone, Tritonal, Gabriel & Dresden, Darude, Qrion, Attlas and Mad Zoo founder, producer and DJ, Mat Zo.

The immersive event will feature a “never-before-seen” skybound Minecraft realm, live Video Jockey-controlled visuals, and interactive mini-games.

The startup has already produced three Minecraft festivals including Mat Zo and Friends, Hospitality: In The Void, and Mad Zoo: In The Void.

“Every event we put on is a step up from the last, but Stratosfest is by far the biggest step up we’ve taken so far”

“Pure luck brought our team together. Everyone’s unique skill sets and experiences have amounted to the dream team. We’re all perfectly suited for this, as artists, gamers, programmers and fans. It all feels like it was meant to be,” says head of Mad Zoo, Mat Zo.

“After producing three successful Minecraft festivals, it feels really great to be able to go bigger than I ever dreamt for the fourth edition. I feel incredibly fortunate to be able to work with such a skilled team, and with artists who I admire.

“Every event we put on is a step up from the last, but Stratosfest is by far the biggest step up we’ve taken so far. I can’t wait to share what we have in store for everyone.”

Minecraft first hosted a music event in 2016, and has since provided the setting for virtual festival Fire Festival; produced charity events Block By Blockwest, featuring Pussy Riot, Idles and Sports Team, and Square Garden, with 100 Gecs and Charli XCX; and organised dance music festival Electric Blockaloo, featuring Diplo, Maceo Plex and Tokimonsta.

Selling more than 200 million copies since being released in 2011, Minecraft has over 40% more monthly users than free-to-play online shooter Fortnite (78.3m), which has hosted record-breaking concerts by rapper Travis Scott and EDM star Marshemello, indicating a potential to draw yet more viewers (although fans did not need to pay to attend the Fortnite shows).

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Spotify is developing a feature that will alert fans to an artist’s upcoming virtual events, according to a tweet by reverse engineer Jane Manchun Wong.

The streaming service ordinarily lists an artist’s live events on their profile page, but according to Wong (via TechCrunch), it is now transforming that feature into virtual events discovery.

The platform already works with ticketing partners including Ticketmaster, Songkick, Resident Advisor, Eventbrite, AXS and Japan’s eplus, and therefore virtual event listings wouldn’t be difficult to implement.

The feature isn’t yet available in the public-facing version of the Spotify app.

Elsewhere, Jay-Z’s streaming service Tidal has spent US$7 million on tokens issued by the company behind Sensorium Galaxy, a new VR “social metaspace” in which users can attend alternative-world concerts, nightclubs and festivals through a VR headset.

Through the purchase, Tidal has acquired access to broadcast their content within Sensorium Galaxy, which is due to launch publicly in early 2021.

Sensorium says that its “Social VR technology” is poised to “provide unprecedented ways for artists”

Lior Tibon, COO of Tidal, says: “Our relationship with Sensorium provides Tidal with the opportunity to gain exclusive rights for its stellar artist roster to have their shows and music broadcast exclusively within Sensorium’s themed virtual entertainment worlds.

“The Sensorium Galaxy is a next-generation platform for entertainment consumption which will elevate the connection fans have with their favourite artists, and bring artists’ vision to life in a new and exciting way.”

Sensorium says that its “social VR technology” is poised to “provide unprecedented ways for artists, performance venues, game publishers, and virtual influencers to entertain and engage fans globally across interactive environments”.

Alongside Jay-Z, Tidal’s artist co-owners include Lil Wayne, Rihanna, Calvin Harris, Daft Punk and Coldplay’s Chris Martin.

Earlier this week, it was announced earlier this week that streaming service Napster will be acquired by live music virtual reality platform MelodyVR.

The US$70 million acquisition will eventually combine Napster’s library of over 90 million audio tracks and Melody VR’s catalogue of virtual live music shows, to create a platform where users can stream music and experience immersive live performances.

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Live music virtual reality platform MelodyVR is acquiring Rhapsody International, which operates as music subscription service Napster.

The US$70 million acquisition will eventually combine Napster’s library of over 90 million audio tracks and Melody VR’s catalogue of virtual live music shows, to create a platform where users can stream music and experience immersive live performances.

“For music fans today, live and recorded music are intrinsically linked. We are as keen to see our favourite artists perform live as we are to listen to their albums,” says MelodyVR CEO Anthony Matchett.

“Our purchase of Napster, one of the music industry’s original disruptors, is born out of our wish to deliver the world’s foremost music experience, available seamlessly across audio and visual media and in turn presenting a truly next-generation music service.”

Napster CEO Bill Patrizio commented: “This is a tremendous outcome for two organizations with complementary platforms and loyal audiences, and we could not be more excited to be moving forward as one company.”

“Our wish is to deliver the world’s foremost music experience… a truly next-generation music service”

“The product, technology and cultural synergies of Napster and MelodyVR will bring tremendous innovation for music lovers, artists and the entire music industry. Good things come from being together, and we look forward to creating a powerful platform that combines our strengths and offers an even wider range of content to consumers, creators and advertisers.”

The UK-based MelodyVR broadcast its first live concert in virtual reality in 2018 with Liam Payne in London, after releasing its app – touted as the world’s first dedicated virtual reality (VR) music platform – in 2019, and subsequently partnering with O2 in the UK.

Since Covid-19 hit the industry, the company has delivered a digital edition of Wireless festival in London and live music VR series, Live from LA, which has featured artists including Cypress Hill, Kesha, John Legend and Tori Kelly.

The shows were available to watch in 360° for free via the MelodyVR app and VR headsets.

MelodyVR and Napster, which is currently 84% owned by RealNetworks, will operate independently for the foreseeable future.

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