2024 has been the most ambitious and turbulent year I’ve observed in the immersive experiences sector. While both boutique and major producers are making significant strides in methodically building the foundation for the next generation of entertainment, the market remains fragile, with an evolution that is proving difficult to interpret.
The first part of the last year was marked by several negative headlines, including the closure of Sleep No More in New York City, which, since its announcement, extended operations by over a year until January 2025. During the same period, industry press circulated numerous reports about the Sphere’s alleged financial underperformance. This remains difficult to verify given the numerous sold-out shows, particularly Anyma’s late December shows, which consistently sold out within hours and added seven additional dates – a clear indication that quality products drive ticket sales. Additionally, there’s the recent news of Meow Wolf reducing its workforce by 20%.
Throughout all this time I’ve frequently reflected on a statement by Charlie Miller, Executive Director and Curator for DCPA’s Off-Center programming, during The Immersive Immersive conference that particularly resonated with me: “The first generation of immersive experiences is concluding, and another is beginning.”
At Immersed in the Future, we’ve been exploring fundamental questions about our engagement with non-profit arts organizations: how can we effectively integrate next-generation immersive experiences into traditional performing arts? More critically, what strategies can we implement to avoid repeating past missteps in this dynamic landscape?
Our research shines a light on new opportunities and pitfalls. In 2024, we executed a strategic shift, moving beyond conventional market analysis of existing immersive experiences to conducting behavioral studies of audience engagement patterns. We began by studying active classical music attendees and gathering insights about immersive experiences. While still preliminary, these findings provide valuable strategic direction for future developments.
Starting with the most fundamental quantitative metric, we evaluated reactions to the phrase “immersive entertainment experience,” which garnered notable positive reception among younger demographic segments, indicating a significant generational shift in consumption preferences.
We then conducted more specific testing of interest in live visualizations of classical music, surveying over 10,000 regular classical concert attendees across 16 U.S. cities. Current audiences are divided – many are open to exploring this new format, while others are uninterested. Quite a few are undecided, suggesting that substantial market education is still required and many respondents lack a concrete understanding of the concept.
The intersection of music and visualization has historically been a challenging topic for classical music professionals, despite numerous historical precedents dating back centuries. A significant recent example from August 2024 was the co-production between the for-profit Balich Wonder Studio, one of the world’s largest event design and production companies, and the Arena di Verona Foundation, a cultural icon of classical music and opera based in Verona, Italy. The event, Viva Vivaldi, marked a radical departure from traditional programming. Two state-of-the-art LED walls were installed on the Arena’s stage, creating three-dimensional visualizations inspired by Vivaldi’s Four Seasons. The event achieved a complete sellout with 10,000 attendees (including myself) and has already been confirmed for two dates in the 2025 season. While not classified as an immersive experience but rather an immersive concert, the content particularly resonated with younger audiences, and I found it heartening to see 20-year-olds enthusiastically engaged with the performance. Whether one appreciates this format or not, it undeniably represents a positive initial touchpoint for many young people in exploring and understanding the depth of classical music. Personally, I think this observation is beyond dispute.
Despite everything, the most significant data emerged from our qualitative analysis, conducted through focus groups with over 100 classical music consumers aged 25 to 40. Notably, about 90% of participants expressed negative opinions about the Van Gogh Immersive experience (referring to all the various productions on the market), describing it as rudimentary, static, lacking narrative, conceptually empty, and limited to a simple display medium.
We then directly asked participants to envision the next generation of immersive experiences dedicated to classical music. Despite their limited familiarity with immersive formats, all participants demonstrated a remarkable ability to identify the key elements of an authentic immersive experience. Their preferences consistently leaned toward the combination of musical elements and visual components, as long as they created a cohesive narrative. A particularly significant comment came from a young participant: “My first experience with classical music wasn’t in school or a concert hall – I vividly remember being enchanted by these sounds while watching Looney Tunes cartoons on TV.” This observation clearly illustrates how classical music has entered in the new generation of collective consciousness through unconventional pathways.
However, the challenge is complex: simply installing large screens with generic visualizations, similar to screensavers, in an auditorium is not sufficient. The characteristics we gathered from participants clearly indicate that the integration between music and images must respect and enhance the original work to fully capture its essence. Participants identified several fundamental requirements, including high-quality imagery, contextual relevance, and, most importantly, audiovisual synchronization. These elements are crucial for attracting and engaging the new generation of young adults who attend nonprofit arts organizations.
While current examples of immersive experiences based on classical music and visual imagery are limited, outdated, or already exposed in this blog, these characteristics can be observed in the recent collaboration between Frameless and Cinesite. Together, they created a bold reinterpretation of Rembrandt’s masterpiece Christ in the Storm on the Sea of Galilee. Joce Capper, General Manager of Cinesite London, perfectly captured the essence of how a second generation of immersive experiences in classical arts should be with this statement: “It was crucial to respect and preserve the integrity of the original work. It wasn’t just about expanding the environment. The team had to amplify the power, drama, and spirit of the original work, including its details, lighting, atmosphere, and intent.”
Yet all these technical and stylistic requirements represent merely the tip of the iceberg. This alone is insufficient. As we have consistently emphasized in past posts, technology or fancy design remains and will continue to be just tools at our disposal, but certainly not indispensable.
Research subjects consistently noted that genuine immersion fundamentally centers on community development, regardless of technological sophistication. This insight redirects attention from technical presentation methods toward social space architecture, where immersive settings function not as mere visual displays but as foundations for human interaction and collective experiences. These immersive encounters, especially those structured around shared narratives and collaborative activities, effectively dissolve social barriers and strengthen interpersonal bonds. They establish spaces where people from diverse backgrounds can form meaningful connections.
The subjects emphasized that effective immersive experiences must address our fundamental need for human connection, albeit in a controlled and well-organized manner. When participants can present their genuine selves and meaningfully interact with the content, they develop a distinctive bond with the organizing institution.
This phenomenon extends beyond the event’s temporal boundaries, fostering a form of psychological remuneration.
To substantiate this concept, we can examine events like ABBA Voyage, the year’s most profitable immersive experience that strongly reinforces this principle. Analyzing the experience, participants in such events fully understand they are witnessing a mere holographic simulation, yet what makes it exceptional is the opportunity to share with a like-minded community and relive unforgettable emotions from past times, creating a domino effect of active participation. This is the best example of an experience that extends beyond entertainment into pure shared connection, and demonstrates the transformative power of immersive experiences.
