My review of Abba Voyage: what was the new setlist like?

So goes the beginning of the song that catapulted Agnetha, Bjorn, Benny and Anni-Frid to fame at the Brighton Dome all those years ago.

It also sums up my reaction, to put it mildly, when I saw a man cutting a similar figure to one quarter of pop’s greatest group walking my way.

Although his hair was now grey, and he was wearing a more demure look compared to the glittery flared jumpsuit of his heyday, it was clear that I was in the presence of music royalty.

Me with the back of Benny’s head – a brush with stardom (Image: NQ) So how do you think I reacted when, just moments later, Anni-Frid also joined Benny?

Only a big occasion could draw half of Abba together – and this turned out to be the third anniversary of Abba Voyage, the ground-breaking show which has arguably changed the future of music concerts forever.

Ahead of the milestone show, which saw new tracks like The Name Of The Game, Super Trouper, Money, Money, Money and Take A Chance On Me added, a variety of industry figures enjoyed a tipple and canapes outside the arena at the Queen Elizabeth Olympic Park.

Anna-Frid and Benny outside the arena (Image: Abba Voyage) While Benny and Anni-Frid were understandably the star attraction, the glitterati were also out to play.

During my celeb-spotting I saw Matthew Horne of Gavin and Stacey fame, Richard Arnold off the morning telly sporting an Abba Voyage blazer, Denise Van Outen cutting a rug in a tent dance floor, and (arguably most tantalisingly of all) the back of Ian Beale’s head.

Suitably lubricated with some Champagne and canapes, I ventured inside to take my seat for the main event.

Denise Van Outen and Richard Arnold (Image: Abba Voyage) By now the concept is well established: using cutting-edge motion capture technology and other technical wizardry I won’t pretend to understand, the quartet have been turned into digital avatars who can move like they used to back in their heyday.

The initial buzz saw diehard fans and the curious alike flock to the purpose-built stadium to size up the spectacle for themselves.

But it turns out it was not a one and done novelty experience, having a longevity that has surprised even the founding members.

The opening moments of the show (Image: Abba Voyage) “When we first opened we never imagined that we’d still be in London three years on. We’re very grateful that so many of you have joined us,” they said in a statement released after the event.

“Of course, the reason for us being able to sustain our concert for so long is because of our incredible audience.”

They certainly showed up in force – a sea of bedazzled outfits, merch and feather boas in front of us in the dance floor area.

As the lights went down and the abbatars rose up from ‘under’ the stage, the crowd erupted in applause and the show was underway.

Money, Money, Money was a crowd pleaser (Image: Abba Voyage) I will say I totally understand the hype surrounding the projections themselves – from where they are positioned and the way they move, they do look totally realistic, right down to how Agnetha’s dress sashayed during a rousing rendition of Money, Money, Money.

The big screens are not quite as breathtakingly uncanny, the close-ups appearing more like high-quality video game characters than the ‘real thing’.

But the show plays on this with a knowing nod, leaning into rather than against the multimedia aspect.

Some amazing lighting effects were deployed (Image: Abba Voyage) At one end of the spectrum, you had live singers and a band performing Does Your Mother Know; at the other, the abbatars danced behind archival performance footage of Waterloo, projected onto sheer fabric screens.

There was even an animated film mythologising the band which played during intervals (while the headliners might not need to use the bathroom, the crowd certainly did).

How strange it must be to see yourself presented like a god, I thought, as I glanced over to Benny and Anni-Frid in their VIP box.

For most of the show the pair were inscrutable, Benny leaning over the railing watching intently with the focus of a director assessing the minutiae of this new incarnation of the show.

Benny and Anni-Frid wave at the crowd after the show (Image: NQ) Seeing them, in the flesh, reacting to de-aged holograms of themselves was another fascinating metaphysical layer in the whole experience, and a privilege to boot.

Anyway, back to the main event.

Starting off with lesser known hits and pared back staging, with the abbatars taking centre stage, this set up a sense we were watching ‘proper artists’.

But soon enough, the stage exploded into technicolour with ‘costume’ changes galore.

The abbatars even had some banter with the crowd – the only hint they weren’t speaking live being the lack of reaction when the crowd laughed or cheered.

Given Agnetha’s historical prominence, it was nice to see Anni-Frid take centre stage during several numbers.

Her ‘speech’ dedicating Fernando to her grandmother under starry skies was an emotional touch.

The big guns went off, so to speak, Gimme! Gimme! Gimme! being a personal favourite which got everyone on their feet.

My unexpected favourite moment came from a gasp-worthy transition into Summer Night City, which saw the foursome wear their now-distinctive Abba Voyage spacesuits.

The venue in all its glory (Image: NQ) Of the two new songs in Abba’s repertoire, Don’t Shut Me Down was superior – blending in seamlessly with their imperial back catalogue.

Thank You For The Music hinted that the end of the night was drawing close – but there were still two of the band’s biggest songs to play.

Dancing Queen and The Winner Takes it All, the yin and yang that symbolises Abba’s appeal, served as the perfect way to end the performance.

In a normal show, the ‘surprise’ ending which sees contemporised abbatars take a bow would be enough to turn heads.

But the gaze of the crowd by this stage was firmly on the real deals behind them, presented to the pair as a sea of phone lights and clapping hands.

A sweet exchange saw Anni-Frid giggle nervously when Benny passed her a mic on the fly to give a speech.

They mouthed something to each other, and in that moment, it felt the years melted away; you could see a bond forged through a history only the two of them (in that room, at least) could understand.

She went with a classic message, thanking the crowd, before declaring ‘I’m turning 80 this year’, to rapturous applause.

(Interestingly, the one time the pair raised their hands in applause themselves was when the live band took their bows.)

Cut to the next day, and here I was – back again outside the stadium by Pudding Mill Lane tube station (a name the band were not a fan of, they revealed the night before).

It was quiet, all signs of glitz and glamour gone along with the stars.

In amongst all the excitement, I’d forgotten to take a photo of myself at the venue for this review.

While I struggled to get a half-decent selfie, a lady wearing an Abba necklace and T-shirt came over and offered to take one for me – if I could also do the same for her in return, she said.

We got chatting and it turned out she had visited the night before from Amsterdam – but still preserving the Irish lilt of her homeland.

Even the slightest mention of what she thought of the show had her welling up with tears, such was the emotional impact.

So don’t take my word for it – it really does have to be seen to be believed.

My room at The Gantry (Image: NQ) During my trip, I stayed at The Gantry Hotel, part of the Curio Collection by Hilton.

Conveniently located opposite Stratford International tube station, a short ride away from Pudding Mill Lane, this is a great choice for an overnight stay to see the show.

With a selection of restaurants, including the STK steakhouse on the rooftop of the building and Union Social for a more casual lunch and dinner, you’ve also got a nice meal covered too.

The lunch menu ranges from small plates to a beef ragu and burger; I tried the former and found it to be meaty and satisfying.

The Book of Hedonism lived up to its name (Image: NQ) Preceded by a Book of Hedonism – a caramel cocktail concoction made with a selection of scotch, whisky and rum and served in a smoking book-shaped box – it also had a touch of drama.