From Abba to Spotify, Avicii to Soundcloud, Stockholm has spawned both some of the world’s most successful musicians and music tech companies.
With seven wins, Sweden has won the Eurovision Song Contest more than any other nation and Malmö will host this year’s competition.
That legacy is evident moments after stepping off the underground at Stockholm’s central station.
That legacy is evident moments after stepping off the underground at Stockholm’s central station.
On the fifteenth floor sits Per Sundin, chief executive of Pophouse Entertainment which runs the museum. The company is focussed on creating the “next generation” of high-tech entertainment experiences, with a portfolio that also includes the Abba Voyage stage show in London, performed by avatar versions of Sweden’s biggest supergroup.
It is developing plans for a new show in 2027 involving digital versions of the US rock band Kiss, after testing the technology at the band’s final real-life gig last year.
“What’s the similarity between Kiss and Abba?,” asks Mr Sundin rhetorically from his private office with floor-to-ceiling windows. “They really have super fans, both artists, and they have a wide catalogue, and they have global presence all over the world.”
Despite selling more than two million tickets for Abba Voyage since May 2022, he says Pophouse Entertainment still hasn’t broken even on its investments, which include the technology (created in collaboration with US filmmaker George Lucas’s visual effects company Industrial Light and Magic), and the event’s bespoke east London arena.
From Abba to Spotify, Avicii to Soundcloud, Stockholm has spawned both some of the world’s most successful musicians and music tech companies.
That legacy is evident moments after stepping off the underground at Stockholm’s central station.
With seven wins, Sweden has won the Eurovision Song Contest more than any other nation and Malmö will host this year’s competition.
On the fifteenth floor sits Per Sundin, chief executive of Pophouse Entertainment which runs the museum. The company is focussed on creating the “next generation” of high-tech entertainment experiences, with a portfolio that also includes the Abba Voyage stage show in London, performed by avatar versions of Sweden’s biggest supergroup.
That legacy is evident moments after stepping off the underground at Stockholm’s central station.
That legacy is evident moments after stepping off the underground at Stockholm’s central station.
On the fifteenth floor sits Per Sundin, chief executive of Pophouse Entertainment which runs the museum. The company is focussed on creating the “next generation” of high-tech entertainment experiences, with a portfolio that also includes the Abba Voyage stage show in London, performed by avatar versions of Sweden’s biggest supergroup.
It is developing plans for a new show in 2027 involving digital versions of the US rock band Kiss, after testing the technology at the band’s final real-life gig last year.
“What’s the similarity between Kiss and Abba?,” asks Mr Sundin rhetorically from his private office with floor-to-ceiling windows. “They really have super fans, both artists, and they have a wide catalogue, and they have global presence all over the world.”
Despite selling more than two million tickets for Abba Voyage since May 2022, he says Pophouse Entertainment still hasn’t broken even on its investments, which include the technology (created in collaboration with US filmmaker George Lucas’s visual effects company Industrial Light and Magic), and the event’s bespoke east London arena.
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