DEAD STAR TALK and KARO GLAZER in the Metaverse: Revolutionizing Music or a Temporary Trend?

Music events have evolved for a long time, taking on diverse forms—from classic live concerts to massive online streams. But recently, a unique new space for experiencing music has emerged: the metaverse.

The term “metaverse” first appeared in Neal Stephenson’s 1992 novel Snow Crash. The book introduced this term and inspired the development of many technologies and online platforms. In the novel, Stephenson presents a world where people can escape reality by putting on VR goggles and immersing themselves in a virtual space.

The word “metaverse” combines “meta,” implying transcendence, with “verse,” meaning a version. In Stephenson’s novel, the metaverse refers to a virtual world where users can lead lives similar to those in reality. They move around this world through avatars—digital representations of themselves—and engage in various activities like socializing, trade, and entertainment.

My first concert in the metaverse

I recently had the chance to experience the musical metaverse. I attended a virtual concert in Decentraland by the German-Danish band DEAD STAR TALK and Polish artist Karo Glazer.

Decentraland is currently one of the most well-known metaverse platforms. It reminded me of the vision depicted in Steven Spielberg’s 2018 film Ready Player One—only now, what once seemed like futuristic fiction is slowly becoming reality.

The metaverse as a new space for experiencing music

Concerts that lack physical stages, speakers, or even a real audience but instead offer virtual spaces, visualizations, and avatars are a novelty that can surprise. In Decentraland, you can explore virtual clubs, visit “festival stages,” and even meet friends—or get to know completely new people—from around the world. Although this technology is still developing, it already offers surprising possibilities.

The second edition of the Viva La Calaca festival, dedicated to Día de Muertos, recently wrapped up, where music, art, and tradition intertwined in a digital format.

Crypto Música Records

Such events also present new opportunities for the music industry. Festivals and concerts organized by the decentralized label Crypto Música Records aim to support creators, particularly from Latin culture, in embracing new technologies. Thanks to blockchain and music NFTs, artists can not only present their work but also effectively monetize it. For fans, it’s a chance to collect unique digital memorabilia. Arnold Travieso, founder of Crypto Música Records, is one of many visionaries and enthusiasts in this field.

Are metaverse concerts the future of the music industry?

For new technology enthusiasts, a concert in the metaverse is a thrilling experience—not only because of the music but also due to the unique form of delivery. Even though the technology is not yet perfect, we can already see virtual “screenshots” that convey the concert’s energy. Accessing this space through VR goggles would be a real breakthrough, adding even more intensity to the event.

But can this ever replace the emotions tied to traditional live concerts? Probably not, at least not for a long time. A concert in the real world is an experience filled with interaction, physical presence, and a lively atmosphere that’s hard to fully recreate in the digital realm. Real feelings and emotions can’t be entirely transformed into a digital version! However, we can treat the metaverse as a new platform—not necessarily competing with traditional concerts, but providing a unique experience.

Is it worth attending concerts in the metaverse?

In a world where streaming and digital art consumption have become everyday occurrences, the metaverse could be the next step forward. But there’s still a long way to go before it reaches its potential!

Currently, platforms of this type still have plenty of room for development, and artists are only beginning to recognize their potential. Is it worth attending such an event? I’ll leave that question to you—perhaps the metaverse will soon become a place where different generations of music lovers, tech enthusiasts, and virtual world fans come together. For now, it’s not quite a reason to pop the champagne, but it’s an opportunity to be seized, a chance to build your position in this new, still largely unknown world.

I’ve always been an advocate of a “middle ground.” I am deeply rooted in traditional forms of expression. The physical aspect is important to me; music on a CD or vinyl speaks to me—I can touch it and feel it physically. But that doesn’t mean I’m ignoring the digitization of the world and the new possibilities that come with it. Today, I can’t say the metaverse is the future. I can only signal that it’s one of the latest possibilities for artists, not only musicians.

Would I bet all my money on the metaverse? Certainly not. But I wouldn’t dismiss the opportunity to present myself to a new audience. We still have a long road ahead, but it’s worth not walking this road alone but moving forward with others in the same direction.