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Benny Andersson and Anni-Frid Lyngstad reunite for third Abba Voyage anniversary in London

Benny Andersson and Anni-Frid Lyngstad reunite for third Abba Voyage anniversary in London

ITV News28-05-2025

Abba stars Benny Andersson and Anni-Frid Lyngstad have reunited to attend the third anniversary of their virtual concert in London.
The Swedish musicians, who were married until divorcing a year before the influential pop group split in 1982, were at the arena in Queen Elizabeth Olympic Park in Stratford, where fans were treated to new songs added to the Abba Voyage show on Tuesday.
The group, also made up of Agnetha Faltskog and Bjorn Ulvaeus, who tied the knot in 1971 before splitting almost a decade later, said: '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.
'Of course, the reason for us being able to sustain our concert for so long is because of our incredible audience.'
The new tracks added to the concert's setlist included Abba hits The Name Of The Game, Super Trouper, Money, Money, Money and Take A Chance On Me.
Famous faces including British singers Elvis Costello, Myleene Klass, and Mahalia along with U2 star Adam Clayton, author and Pointless star Richard Osman, comedian Rob Brydon and Poldark actress Eleanor Tomlinson were in the audience, Abba Voyage said.
Since opening in May 2022, the series of shows that brings to life younger versions of the Abba members through 'Abba-tars', and a 10-piece live band has had more than three million visitors, and according to consultancy Sound Diplomacy, brought an estimated more than £1 billion to the UK economy.
The concert series was created by the Swedish group, directed by Flashbacks Of A Fool director Baillie Walsh and produced by Svana Gisla and Andersson's son Ludvig Andersson.
Abba were the first Swedish winners of the Eurovision Song Contest, performing hit song Waterloo in 1974 in Brighton.
They have had a string of chart-toppers including Gimme! Gimme! Gimme!, Dancing Queen, Super Trouper, The Winner Takes It All and Mamma Mia!
The group split in 1982 after 10 years but reunited and released their first new music in almost 40 years with their ninth studio album Voyage in 2021, which topped the UK album charts.
Their songs also inspired the musical Mamma Mia!, which began in London in 1999, and became a hit worldwide sensation.
It has resulted in two movies, 2008's Mamma Mia! and 2018's Mamma Mia! Here We Go Again.
ABBA Voyage is booking until January 2026.

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We used to have four hundred people dancing in the street When Herrington returned to his (now illegal) Tottenham Court Road pitch after lockdown, he was informed that he wasn't allowed to play without a licence and yet, in a catch-22, his application was denied on account of him having played before being made aware of the rules. He tried to continue without the permit but tells me that by 2024 'you could not busk once on any given day without someone from the council coming up to you'. That's when he began to give in: 'At that point they had started sueing loads of buskers. I had my last warning and because I'd seen my mates get actual convictions, I decided I'm just going to accept that I can't play there anymore. Then I moved to Camden and the same thing happened. It was so much hassle.' Shanilee Tordilla, a regular on the Leicester Square pitch pre-ban, tells me that even with the license, busking had been made harder. 'It didn't take long to realise that the licence wasn't benefitting us but doing the opposite,' she says. 'If you had the licence then you had more opportunities to be prosecuted. There are people who don't know about the licensing scheme and frankly they get away with it because they just come and go as they like.' Serena Kaos, a local busker and member of the Westminster Street Performers Association (WPSA) agrees that those who follow the rules responsibly and abide by the licensing rules are being lumped into the same category as the buskers that play at excessive volumes in antisocial hours and being made to suffer the consequences. 'The buskers that are part of the WSPA are typically very reasonable. We operate on community-based actions.' Amping it up But if noise is the problem, wouldn't the solution simply be to ditch the microphone, switch off the electric amplifier and perform acoustically? 'Go and stand in the middle of Leicester Square and tell me that if I played or sang completely acoustically that anyone would even hear me,' Harry says. 'You need a certain level of amplification. The art of street performance is about capturing people's attention and holding them for a short amount of time to impress them enough to drop a coin in your case. That is hard enough to do in itself, let alone without an amplifier.' Kaos echoes his argument: 'Music does not cut through more than one metre in a central location like Leicester Square. By taking amplification away, you're just taking away street musicians.' Two years after the licensing scheme had been introduced, Westminster Council released a policy review. It revealed that noise complaints had actually increased considerably since the rules had been implemented. Between April 2021 and May 2023 there were 5,070 complaints lodged, up around 1,000 compared to the two years before. It reported that 'some buskers argue that due to the limited opportunities, they can only get onto the Leicester Square pitch once in a day, so they must play louder to attract audiences and maximise their potential earnings. This has meant that the volume can be much louder than they would use normally.' Still, prior to the ruling, the WSPA and the council had been taking regular meter readings (buskers are allowed to play on designated amplified pitches at no more than 78 decibels) and, according to Kaos, had agreed that members weren't playing to levels that could be considered a nuisance. What's next? 'With all the venues shutting down can we at least let people play on the street? What sort of grey world are you trying to create?' Herrington asks. He struggles to be optimistic about busking's future in the city. 'I hate to say it but it's done. I think a lot of buskers are quite fragmented from each other so it's quite hard to get everyone to rally together.' Nevertheless, the WSPA plans to fight to get the Leicester Square pitch back or at least get another pitch to replace it, with intentions to protest on the square every fortnight or so. A spokesperson from the organisation told Time Out: 'The solution lies not in banning street performance altogether, but in working together to establish reasonable compromises around volume levels, speaker types and designated locations. Leicester Square is a cultural landmark – not just for tourism and commerce, but for expression, spontaneity, and opportunity.' When I stop by one of these demonstrations, they're met with mixed reactions. Some members of the public stop to read the WSPA's appeal and sign its petition, encouraged by a supporter who has been coming to the square specifically to listen to its musicians for the past eight years. But there is also some hostility, with one man interrupting a protester mid-song to voice his disapproval. View this post on Instagram A post shared by •SHANILEE• (@sshanilee) 'I understand. If I was working somewhere and there's someone playing ''Wonderwall'' all day long I would go crazy,' says Mary Valiaka, music director at What Does Not, an organisation that champions London's grassroots musicians and backs the WSPA's cause. 'But there needs to be a middle ground'. She argues that pushing performers off the street will have a detrimental effect on London's (already dwindling) live music landscape as a whole. 'With busking, you learn how to engage, be charismatic and have a good presence,' Valiaka says. 'And that's 50 percent of what makes a good live performer. With busking under threat, how are people going to learn how to be a good live performer?' Kaos adds that central London streets provide an important stage for musicians from less privileged backgrounds. 'Working-class musicians don't get the opportunity to be musicians for a living very often. As working class performers, it allows you to have a platform in the first place.' Herrington is one such success story. Through his street performing, he got the 'opportunity of a lifetime' to tour with rising star Myles Smith. He was seen by a scout on the street and now plays keys in Smith's band. This summer he'll be playing at Glastonbury and on stadium stages across the globe supporting Ed Sheeran. 'I'm doing all this crazy stuff and it has all come from busking. I cannot quantify how impactful playing on the streets has been for my music career. I would not be where I am today without it.' Westminster city council has now appealed the Global Radio court ruling and is awaiting a response. A spokesperson told Time Out: 'Our view is the effect of the abatement order is too restrictive in controlling all buskers for the whole of Leicester Square and instead should have been limited to the single amplified pitch that was the basis of the Global Radio case. 'We believe that, with sensible measures in place, we can find a fair solution that minimises disruption while allowing performers to do what they do best.'

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