LIVE REVIEW: Ghost @ O2 Arena, London
“I hate Mondays” Papa Emeritus IV of GHOST proclaims in BOOMTOWN RATS fashion, “I hate Tuesdays too… can’t we just pretend it’s Friday?” he continues to a boisterous crowd in London’s o2 Arena. Hours before this incarnation of GHOST’s lovable Anti-Pope, 20,000 people filtered into North Greenwich for their latest fix. We joined them on the chilly Monday evening to indulge our curiosity surrounding the Ritual, the moniker of GHOST’s live shows.
For those in doubt as to what the theme of the evening would be, Los Angeles-based TWIN TEMPLE soon put those to rest. Vocalist Alexandra and her husband-cum-guitarist Zachary James sauntered onto the stage carrying their ritual blade and goblets. Once the venue had been cleansed to the sound of In Lvx, we were treated to half an hour of Satanic doo-wop. The combination of bouncy jazz with Alexandra’s crooning of lyrics such as “I am a Witch, I turn to Satan/ I don’t have sex for procreation” from Sex Magick sounds odd on paper. Yet with Alexandra’s sultry delivery and undeniable charisma, there is something truly intoxicating about this pairing. The extent of this came within the interlude of recent single Let’s Have A Satanic Orgy.
60s beehive stacked high, red and black embellished mini dress glittering on stage, Alexandra simply dazzled as she held half a dozen red roses to the crowd. Looking around us, we saw pockets of people chained to the rhythm, fully under TWIN TEMPLE’s demonic spell, vying for this mistress’ affection. Though it must be said the heavily Satanic imagery did become cringeworthy in places. However, who wouldn’t want to subscribe to the main premise of “to thine own self be true”? It’s this anchoring with Satanism which fuelled a speech surrounding feminism, transgender rights, and the true freedom of the self. Satan Is A Woman hammered this feminist approach home with vocals reminiscent of the late AMY WINEHOUSE in tone. With Zachary James rendered silent except for the guitar he played, our attention was fully on Alexandra whether it was meant to be or not. Deeply rooted within dark female energy, TWIN TEMPLE had well and truly blessed the evening’s Ritual. Whether the crowd fully understood it or not.
Rating: 7/10
Cambridge’s UNCLE ACID & THE DEADBEATS continue the 60s celebration with their brand of doom/stoner rock. Despite not having released any new material since 2018’s Wasteland, they amble on stage to a decent reception. “We’re here to ruin your evening” enigmatic front man K. R. Starrs mumbles into the microphone because launching proceedings with Mind Crawler. From the off, meaty riffs bloom in our faces like the plume from a joint. The feedback from Starrs and Vaughn Stokes’ guitars is joy to our ears. Fuzzy distortion reigns supreme for slabs of heaviness we lap up like edibles. With his long hair over his face and the dark lighting scheme, Starrs makes it clear to us UNCLE ACID & THE DEADBEATS is meant to be an auditory experience rather than a visual spectacle. What we’re fed is Holy Diver style riffs and uncharacteristic dual guitar solos in Crystal Spiders and crowd favourite 13 Candles. For those unfamiliar with stoner rock would find UNCLE ACID & THE DEADBEATS dragging on in places but there are things for everyone to appreciate. Ritual Knife and I’ll Cut You Down are faster and more melodic in places yet still dwell within the realms of doom. UNCLE ACID & THE DEADBEATS serve as a perfect palate cleanser before the main event.
Rating: 7/10
Question: how do you excite an arena full of rock and metal fans of all ages? Simply hoist a white curtain in front of the stage and play classical music. It’s strange to read but there’s no feeling quite like standing within a crowd of devout GHOST fans buzzing over the appearance to linen to the tune of Klara Stjärnor’s [JAN JOHANSSON] softly swelling piano melody and the moving choir of GREGORIO ALLEGRI’s Miserere Mei, Deus. Not usual hype music for a rock concert, no, but it convincingly does the job. So much so that when the lights dim and the soft nylon guitars of instrumental Imperium blast over the PA system, the arena comes unglued. At least this time it’s for metaphorical reasons rather than a storm ripping the tent.
The Nameless Ghouls launch into driving Kaisarion, their steampunk aesthetic imposing a striking image against the stained-glass backdrop of previous incarnations of Papa Emeritus. While the Nameless Ghouls are an embraced staple of the ritual, there is only one man people are here to see. With an impressive 80s wail, he finally appears. Tobias Forge’s creation, Papa Emeritus IV emerges though not in papal regalia as everyone expects. Papa IV struts around the stage in a lavish yet freeing military style uniform, drinking in the crowd’s adoration.
Where Kaisarion allowed the band to show off their melodic talents, Rats and From The Pinnacle To The Pit had GHOST displaying the splendour of their heaviness. From the “Spooky ABBA” bounce of the former’s piano to the impending doom of the latter, attendees of this ritual were quick to start their mosh pits. Was Papa Emeritus IV the main attraction for the evening? Absolutely. But no one puts a Nameless Ghoul in the corner. The prowess they possess to jump from the undulating From The Pinnacle To The Pit to fan-favourite Mary On A Cross and beyond without a duff note has to be praised. It isn’t just musical talent these anonymous figures have to contend with either. In true GHOST fashion, this show was more than just a listening experience. With Devil Church came a guitar duel between two of the Ghouls, peppered with exemplary comedic timing. Though the spotlight couldn’t be on these shadows for long as Papa Emeritus IV would quickly spirit them away to the side of the stage if they relished in a guitar solo for a second too long. It’s Papa Emeritus IV’s world, we’re just living in it.
A highlight for us was the Grammy Award-winning Cirice. The iconic opening riff was met with pure ecstasy from the crowd. Licks of pyro lit the backdrop, casting heat into the crowd. The visual spectacle had arrived. Papa Emeritus IV promenading around the stage as if recruiting new souls to the Ministry. It’s here we first hear the Ghoulettes’ backing vocals adding a bluesy tone to the ode of having your soul stolen by the Devil. Slightly more prevalent in its counterpart, Call Me Little Sunshine, this additional layer of harmony was divine to indulge in – repentance free. Followed up with the ABBA-esque Hunter’s Moon, our pleasure is well and truly guilt free.
If comparisons such as those feel slightly cheap, it’s because they can be. It’s very easy to dismiss GHOST as “Scooby-Doo chase music” something the Ministry has poked fun at in a recent mockumentary. Looking at the Anti-Pope before us, now dressed in full papal splendour to serenade us with Call Me Little Sunshine, there is a lot more to this band than meets the eye. Everything laid before us during the rollercoaster ride of a stage show is there for a purpose. While some things haven’t changed in terms of the inclusion of older cuts such as Helvetesfönster and Year Zero, it allows GHOST to completely immerse us within this wonderfully welcoming “religious organisation”. Nothing draws us in more so than the stalwart He Is. Torches light the arena as the crowd leads Papa Emeritus IV through his own love letter to Lucifer. As we look around, we see the true power of GHOST’s live performance as expressions of joy and the odd teary eye litter the crowd.
If you’re wondering where the characteristic dirty jokes are, Papa Emeritus IV provided them in abundance. From fingering a microphone stand to telling us to “you know, fuck yourselves tonight… or someone else… just a little bit of fucking”, this show wasn’t entirely kid-friendly. “We’re going to go on a little excavation” Papa Emeritus IV begins after an appearance from Papa Nihil during Miasma – we’re unclear as well. “No… no that’s a little dirty, I meant excursion, you filthy fuckers,” he continues, “You’re going to feel this in your taint. Where are you gonna feel this?”. We don’t envy parents having to answer the awkward “What’s a taint?” but are fully invested in answering Papa Emeritus IV’s rather urgent question before shaking said body part to the incredibly underrated Mummy Dust.
“For those of you who are afraid to be outside but still made it here tonight, from the bottom of our hearts and mine, I thank you.” Papa Emeritus IV proclaims in a rather vulnerable moment for the Satanic Pope. That sentiment continues into their cover of METALLICA’s Enter Sandman, licencing proceeds of which go to benefit Camp Aranu’tiq, more information on which will be given in an upcoming feature with Tobias Forge. The word stunning can be used a little too liberally, but it applies in full effect here. From the soft and airy lilts in the beginning to the full weight of that riff towards the middle, Enter Sandman has a new lease of life and could not have been more well placed.
Rounding out the night with “ass-shakers” Dance Macabre and Square Hammer, GHOST have well and truly put on the performance for the ages. Walking out into the crisp spring air mixed with smoke from cigarettes lit en masse, it feels as though we have had some form of religious experience. Pockets of conversations about feeling “cleansed” filter in and out. Looking around at the smudged corpse paint and make-up of the devout, it’s clear to see we have just experienced one of the best live bands of modern times. While a topic of conversation leaving the arena will be Papa Emeritus IV’s initiation into GHOST, another will be the sight of a conga line leading into a mosh pit. Tobias Forge may have everything painstakingly planned out for the next few years, but we’re sure even he couldn’t have anticipated that and how much joy his creation brought to the Children Of London.
Rating: 10/10
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