Virtual K-pop boy band Plave held their inaugural concert in Singapore on October 17, showcasing a blend of digital innovation and live performance at the newly opened Apex @ Expo venue. The event marked a notable moment for virtual idols, illustrating how technology continues to reshape entertainment and audience engagement.
Plave, formed by South Korean agency Vast and debuting in 2023, consists of five animated members—Yejun, Noah, Bamby, Eunho, and Hamin—brought to life using 3D computer graphics and motion capture technology. Each member’s movements and voice are controlled by human performers equipped with motion-capture suits, enabling the avatars to interact in real time with audiences, perform live, and participate in media activities.
The Singapore concert, held at a venue with a capacity of 9,000, lasted about two and a half hours and featured a hybrid experience combining virtual and live elements. Accompanying the virtual band was a four-member South Korean backing band—bassist Yang Si-on, drummer Kim Seulong, guitarist Im Minki, and keyboardist Shin Ye-chan—and interpreter April Kim, based in Singapore. This integration of live musicians and digital avatars created a unique dynamic, with the virtual members occasionally exhibiting human-like traits such as breathlessness and moments of imperfect singing.
Notably, Plave’s avatars engaged with the Singapore audience using local expressions and Singlish phrases, adding a layer of cultural connection. Pink-haired Bamby invited fans to have a “super shiok” day, while Hamin used the phrase “cannot tahan” to express admiration for the crowd. Eunho referenced the presence of “yandaos” and “chiobus” (colloquial terms for attractive men and women) during the interaction segments, prompting cheers from attending fans. Leader Yejun responded to enthusiastic reactions with the colloquial “steady lah.” The members also expressed interest in local attractions, with Noah mentioning a desire to visit Gardens by the Bay and its nightly light show.
The concert showcased capabilities unattainable by traditional performers. The avatars could instantly change costumes with a snap, teleport across the stage screens, and perform seemingly impossible feats such as sitting atop a floating cello during the jazz number “Chroma Drift.” Versatile backdrop transformations supported the performances, switching scenes from natural landscapes to urban settings to amusement parks seamlessly during songs like “Hide & Seek.” Visual effects further enhanced the experience, including interactive elements such as emojis hovering above the avatars during “Pixel World,” which responded to touch with colorful animated icons.
Plave’s show underscored the evolving nature of live entertainment, demonstrating how virtual idols can preserve the excitement and emotional connection associated with K-pop concerts while introducing innovative artistic possibilities. The fusion of technology and human creativity in their performance points to new directions for the music industry as audiences embrace blended virtual and real-world experiences.