A few hours before the show, I talked to the owner of the venue, the 47-year-old concert promoter Peter Shapiro. The tour kicked off in April at the Capitol Theater in Port Chester, N.Y., about an hour north of Manhattan in Westchester County. Eyellusion also toured a hologram of Frank Zappa in the spring, in a show overseen by Zappa’s son Ahmet. (“His” - would “its” be more apt? Neither word feels quite right.) At one point, the bassist, Bjorn Englen, takes several very deliberate steps to his left, allowing the hologram to dance in front of him and adding to the illusion of a three-dimensional conjuring.Ī start-up called Eyellusion produced “Dio Returns.” It’s one of a handful of companies looking to mold and ultimately monetize a new, hybrid category of entertainment - part concert, part technology-driven spectacle - centered, thus far, on the holographic afterlives of deceased musical stars.
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If you missed the tour, you might want to take a moment here and call up one of the fan-shot videos posted on YouTube - say, “Rainbow in the Dark,” Dio’s 1983 hit, filmed at the Center Stage Theater in Atlanta on June 3, during which the Dio hologram prowls a central portion of the stage, bobbing, weaving, twirling his microphone cord to the monster riffs and occasionally using his free hand to air-conduct his most operatic vocal flourishes. The hologram would tour with a living backing group consisting, in large part, of former Dio bandmates. The Marina del Rey office suite was the site of a visual-effects company creating a Dio hologram. Opinion among the Dio faithful, nonetheless, was divided on the subject of his “Dio Returns” comeback tour, largely because Dio has been dead for almost 10 years. He sang of wolves and demons, toured with an animatronic dragon and supposedly introduced the splay-fingered “devil horns” headbanger’s salute, which he claimed his Italian grandmother used to flash as an old-world method of warding off the malocchio and other forms of bad luck. Beginning in the 1970s, Dio took a lead role in codifying a number of his genre’s most ludicrous, yet utterly foundational, conventions.
Dio never became a household name, but he is considered one of the great heavy-metal vocalists of all time, up there with Ozzy Osbourne (whom he replaced in Black Sabbath) and metal-adjacent rockers like Axl Rose and Robert Plant. I visited at the end of May, only a couple of days before the opening date of the tour, and among Dio’s team, there was a tangible air of anticipation. The office was on the second floor of a strip mall, above a vape shop and a massage parlor. In preparation for his first American tour in a decade, Ronnie James Dio spent months sequestered in a modest office suite in Marina del Rey, in Los Angeles.
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