Sure, I’d bolt a high‑res depth camera rig to the stage, feed that to a low‑latency neural renderer that can spit out 3D meshes on the fly, and slap a spatial audio engine on top so every mic boom feels like a moving source. Then throw in a gesture‑tracking system that lets the audience control the holographic light show with their hands, and finally overlay AR markers in the venue so the venue itself morphs into a dynamic backdrop. It’s messy, but that’s how you get a fluid, digital story instead of a static show.