If You Have Ghost: The Evolution of Metal's Satanic Disco Showstoppers
Friday, 26 October 2018
Written by Jon Stickler
Illustration: Sam Davies
There is a world of difference between Ghost today and the dark, shadowy group that emerged from an occult realm with the release of ‘Opus Eponymous’ at the turn of the decade. Once a band that disgorged Sabbathian doom metal splattered with gothic horror imagery, they have evolved into a rock spectacle that’s part pantomime, part musical and part Satanic disco.
It’s been eight years since their shapeshifting leader, Tobias Forge, uttered the first words on Ghost’s debut album: “Lucifer, we are here for your praise, evil one.” That’s the sort of big, schlocky statement they made their name with, but it’s particularly enjoyable to revisit it in the context of where the band are now. They have gone on to issue a further three LPs - 2013’s ‘Infestissumam’, 2015’s ‘Meliora’ and this year’s ‘Prequelle’ - and they have steadily progressed through each release, ending up beneath a glitterball with the REO Speedwagon-meets-ABBA theatrics of their latest offering.
Back in 2010, if someone told you that this mob of masked, hazy oddballs would be pulling off huge, immersive spectacles in arenas you’d have laughed them out of the room. But here we are. Ghost’s A Pale Tour Named Death is underway in the US and features a stop at the Barclays Center in Brooklyn, a 19,000 capacity enormodome, and those who make the trip out will find it worth the effort if a recent set at a sold out Royal Albert Hall in London is anything to go by.
With ‘Prequelle’ shoving the band to the upper reaches of the Billboard charts, Ghost were already on the cusp of a mainstream breakthrough by the time they made the step up to performing at such an iconic venue. It felt like a natural progression and it’s difficult to think of a space more suited to the fleshing out of their theatrical ambitions.
‘Prequelle’ was written to make Ghost wildly entertaining live while also allowing them to break down the barriers that conventional wisdom says their visual and lyrical styles should conform to. Forge has elegantly tuned their Satanic shtick to appeal to a wider audience and it’s paid off in kind, with their older material appearing like a Trojan horse amid the sparkle and pizzazz.
Not only was this London show their biggest headlining date on this side of the pond so far, it also served as the first opportunity for fans here to experience the next chapter of Ghost after Forge decided to “kill off” a string of Satanic popes - Papas Emeritus I, II and III, one for each of the band's first three albums - and unveil its two “newest” members: Papa Emeritus Nihil and the dorky but charming Cardinal Copia.
The band’s narrative now revolves around Copia, who has to prove himself to become a pope. To earn his skull paint, essentially. Of course, only Forge knows for sure what’s going to happen - and he’s not telling. All we know is, what was once a ghastly looking figure, stalking back and forth on stage, has transformed to an indulgent teen idol character complete with hip wiggles, costume changes and sexual innuendo that would make Madonna blush. Even his white suit is reminiscent of John Travolta lighting up a dancefloor in Saturday Night Fever.
The stage design at the Royal Albert Hall also shifted from a vintage horror movie vibe to displaying some of the swanky qualities of Broadway: a spectacular stained glass window backdrop, confetti cannons and white steps to raised drum and keyboard risers. Ghost have expanded to eight members, including Cardinal Copia, Papa Emeritus Nihil and six masked Nameless Ghoul supporting musicians, who appear to be everywhere all at once while performing. Even though you can’t see their faces, a lot of personality comes across in each of the Ghouls’ movements and the way they play their instruments. No longer are they statuesque individuals; they’re an animated and mischievous mass of souls.
In addition to the band’s enhanced Burtonesque presentation, over the space of eight years Ghost have amassed one of the best setlists in modern metal. With so many big songs at their disposal, their performance now runs for 24 tracks across two hour-long sets separated by a 20 minute interval. It’s pure escapism to wallow in their outlandish occult rock fantasy. It’s a case of wall to wall bangers from start to finish in a format that they look very likely to continue with on their upcoming tours.
The reaction in London to new tracks such as Rats, Dance Macabre, Pro Memoria and Miasma, complete with Papa Nihil’s saxophone solo, is on a similar level to the latest pop act you might think of. Basically, it’s bedlam. The Cardinal indulges in the admiration from fans, plucking a white rose from a member of the crowd. The band have successfully tamped down the doomy undertones via catchy, proggy arrangements and synthy pomp-rock that owes more to Duran Duran than Mercyful Fate or Candlemass.
It’s come at a price, however. There was a fair amount of cynicism directed towards their more poppy odes to Lucifer and zombie queens, which are more obvious on ‘Prequelle’ than ever before. Some will say the disco-rock sound has developed naturally through each album, others will say that they’re becoming too commercially ambitious. None of that will change with their excursions into arena land. But at the Royal Albert Hall it feels like these barbs are butting up against some intense creativity. Those dyed in the wool metallers who threw rocks at ‘Prequelle’ perhaps can't handle a record that isn't the same idea repeated 10 times with expensive production.
Ghost are among only a handful of rock and metal bands that have continued to evolve through their lifespan and that makes them interesting on a purely artistic level, even if you don’t vibe with their music. It’s a risky step but, somewhat against the odds, they have emerged from the shadows to embrace the spotlight. These days, calling them metal is doing them a disservice in many ways. A recent remix of Dance Macabre by former tourmates Carpenter Brut is another example of how Forge, a longtime fan of the French synthwave artist, is looking to challenge listeners’ expectations.
The penultimate song at the Royal Albert Hall is Square Hammer: their Run To The Hills, their Enter Sandman. And, judging from the audience reaction, you suspect they have it on their to do list to become this generation’s Iron Maiden or Metallica. Speaking of which, they’ve just been picked as main support on the thrash legends’ 2019 return to Europe.
It's your call whether or not you believe the boggle-eyed hype, but A Pale Tour Named Death is a chance for Forge and friends to prove that they have the minerals to take the next step towards world domination. They want to be headlining arenas in the UK at some point. They’re not far away from topping major festival bills either.
If you have Ghost, it seems, you have everything.
Ghost Upcoming Tour Dates are as follows:
Fri October 26 2018 - TULSA Oklahoma - Cox Business Center Exhibit Hall (USA)
Sat October 27 2018 - KANSAS CITY Missouri - Arvest Bank Theatre at the Midland (USA)
Mon October 29 2018 - LOUISVILLE Kentucky - Louisville Palace presented by Cricket Wireless (USA)
Tue October 30 2018 - INDIANAPOLIS Indiana - Murat Theatre at Old National Centre (USA)
Thu November 01 2018 - CHICAGO Illinois - Aragon Ballroom (USA)
Fri November 02 2018 - PEORIA Illinois - Peoria Civic Center (USA)
Sat November 03 2018 - MADISON Wisconsin - Sylvee (USA)
Sun November 04 2018 - AMES Iowa - Stephens Auditorium at Iowa State Center (USA)
Tue November 06 2018 - OMAHA Nebraska - Orpheum Theatre - Omaha (USA)
Thu November 08 2018 - ALBUQUERQUE New Mexico - Kiva Auditorium at the Albuquerque Convention Center (USA)
Fri November 09 2018 - EL PASO Texas - Abraham Chavez Theatre (USA)
Sat November 10 2018 - PHOENIX Arizona - Comerica Theatre (USA)
Mon November 12 2018 - SAN DIEGO California - Spreckels Theatre (USA)
Tue November 13 2018 - SACRAMENTO California - Sacramento Community Center Theatre (USA)
Thu November 15 2018 - SAN JOSE California - City National Civic (USA)
Fri November 16 2018 - LOS ANGELES California - Forum (USA)
Sat November 17 2018 - LAS VEGAS Nevada - Joint at Hard Rock Hotel Las Vegas (USA)
Mon November 19 2018 - MIDLAND Texas - Wagner Noel Performing Arts Center (USA)
Tue November 20 2018 - AUSTIN Texas - Bass Concert Hall (USA)
Wed November 21 2018 - NEW ORLEANS Louisiana - Orpheum Theater (USA)
Fri November 23 2018 - ORLANDO Florida - Walt Disney Theater at Dr Phillips Center (USA)
Sat November 24 2018 - MIAMI BEACH Florida - Fillmore Miami Beach at Jackie Gleason Theater (USA)
Sun November 25 2018 - CLEARWATER Florida - Ruth Eckerd Hall (USA)
Tue November 27 2018 - NORTH CHARLESTON South Carolina - North Charleston Performing Arts Center (USA)
Wed November 28 2018 - RALEIGH North Carolina - Lincoln Theatre - Raleigh (USA)
Thu November 29 2018 - MOBILE Alabama - Saenger Theatre - AL (USA)
Fri November 30 2018 - ATLANTA Georgia - Coca-Cola Roxy (USA)
Sat December 01 2018 - JACKSONVILLE Florida - Florida Theatre Jacksonville (USA)
Sun December 02 2018 - CHARLOTTE North Carolina - Ovens Auditorium (USA)
Tue December 04 2018 - RICHMOND Virginia - Carpenter Theatre at Richmond CenterStage (USA)
Wed December 05 2018 - WILKES BARRE Pennsylvania - F.M. Kirby Center (USA)
Fri December 07 2018 - LAVAL Quebec - Place Bell (Canada)
Sat December 08 2018 - TORONTO Ontario - Sony Centre For The Performing Arts (Canada)
Mon December 10 2018 - BALTIMORE Maryland - Hippodrome at France-Merrick Performing Arts Center (USA)
Tue December 11 2018 - PHILADELPHIA Pennsylvania - Tower Theatre Upper Darby (USA)
Thu December 13 2018 - ALBANY New York - Palace Theatre Albany (USA)
Fri December 14 2018 - BOSTON Massachusetts - Boch Center Wang Theatre (formerly Citi Performing Arts Center) (USA)
Sat December 15 2018 - BROOKLYN New York - Barclays Center (USA)
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