If piracy continues to be the bane from the music business, and live performances really are a financial buoy, what goes on when live performances are ported to some virtual medium that out of the blue might be susceptible to piracy again? This Note examines the different ip frameworks by which it’s possible to consider the protectable aspects of an active show or concert and just what transpires with the protectability of individuals elements when the show is ported to virtual reality. Considering that technology up to now has already established a significantly bigger effect on recorded music than you are on live performances, the development of virtual reality technologies have serious disruptive potential. This Note argues that you can use existing ip law to weave an intricate web of protected elements around non conventional targets of IP like stage, set, and lighting design, background visuals, live performers, and props. This web of ip protection will encourage strong contracting and yield more avenues for fighting off piracy within the virtual reality world.