## 1 Introduction  
As global pandemics limit outdoor activities, various arts and cultural services and systems are attempting to operate non-face-to-face. In particular, metaverse platforms, which offer immersive environments to overcome the lack of physical presence, a limitation of online contexts, are garnering significant attention. To provide immersive experiences, 3D metaverse games including Roblox and Minecraft are utilized [1, 2, 3, 4]. Recently, with the development of various metaverse games and platforms, many planners and researchers are actively conducting studies and making efforts to implement the metaverse. Likewise, in the concert industry, musicians are starting to host virtual concert events using various metaverse platforms. This trend of major artists participating in virtual concert servicesis accelerating [5; 6; 7]. For instance, startups providing virtual concert platforms, such as WAVE, where avatars perform live concerts, have attracted investments of up to 30 million dollars. These industries are expanding their content by producing concerts with world-class artists such as [PERSON] and [PERSON], as shown in Figure 1, against the background of enormous capital. The metaverse platform industry is researching and integrating various technologies, including volumetric technology, to provide users with immersive experiences [10]. Volumetric technology captures human motion in a green screen studio equipped with hundreds of 4K-level cameras, creating a 360-degree stereoscopic image. Human objects in a virtual space created using volumetric technology are typically referred to as digital humans. While volumetric content has the advantage of enabling a life-like avatar representation of performers compared with traditional virtual concert content, interaction between performers and users has been limited to a few dozen simultaneous connections within the metaverse channel because of real-time concurrent user restrictions. Interaction in concerts is a means for performers and audiences to communicate bidirectionally. Implementing an interactive environment in the virtual concert world of the metaverse platform can enhance QoS for both parties. However, when the audience and performers exchange interaction data during a virtual concert, the amount of traffic that needs to be processed in parallel increases exponentially with the number of audience members. To construct a metaverse network for virtual concerts, many providers create concert venue worlds and environments using game engines. To efficiently create a metaverse world, world creators use basic network functions provided by the game engine. However, building a virtual concert with a single function results in handling various types of data occurring in the concert venue world within a single network framework. In particular, interaction data exchanged between performers and users require an end-to-end network, potentially escalating the overall network framework's requirements. Moreover, the performer values the visual experience of receiving interactions from the audience more than the specificity of the transmitting party, so it is not necessary to implement 1:N type communication depending on the number of audience members. For instance, if 1000 audience members enter and all 1000 interaction data they send must be processed, a real-time concert can be compromised as a result of exponentially increased network traffic. Hence, in this paper, we employ bidirectional network channels to segregate the network channel transmitting interactions. This study proposes a framework where the audience in the virtual space is divided into \(n\) zones to receive interaction data from a massive audience, with each zone summarizing its interaction data for transmission to the performer.