GHOST PLUS SUPPORT LIVE

Michael Fairbairn and John Scott step out to witness the worship of satanic-metal japesters, Ghost.  Will they be grabbed by the Ghoulies? Read on to find out.

Words: Michael Fairbairn.

Photos: John Scott

We are gathered together tonight to welcome back Ghost. It’s been more than two years since Tobias Forge, the Swedish singer, songwriter and leader of this powerhouse enigma of a band last graced these shores with his demonic presence. Having killed off several previous alter egos at will over the years, tonight sees Papa Emeritus IV step onto Scottish soil for the first time. Still sporting his recognisable prosthetic mask and skull makeup, Forge is very much alive (or is that undead?)  as the band’s twisted master of ceremonies. Accompanying their inimitable overlord, as always, are the Nameless Ghouls who have since grown in number and have themselves had a makeover; now resembling something you might meet in the Star Wars cantina. The now expanded clergy are all a very welcome sight for, ‘all eyes’ and a treat for, ‘all ears’.

Now stepping up to performing in enormodomes on this run of UK and European dates, they have not only been missed by their hordes of followers but have also picked up an army of new worshippers who are here to celebrate the ritualistic union of rock ‘n’ roll and the occult. Such is the appeal of Ghost’s melodic brand of satanic metal that the congregation tonight ranges from Tweenies to Sextegenarians, all equally keen to indulge in the forthcoming spectacle.

Opening tonight’s proceedings is Twin Temple. Hailing from Los Angeles, they are a devil-worshipping duo specialising in self-styled Satanic Doo-Wop. Picture a rock ‘n’ roll house band for The Munsters or Addams Family. The band take influences from The  Ronettes/Spector Wall of Sound – more Be My Baphomet than Be My Baby – and pair it with horror schtick; blood, skulls and inverted crosses aplenty. It’s an enticing concoction, further emphasised by their effortless cool and stage presence. It’s not all about the visuals though. Songs like Sex Magick and, Let’s Have A Satanic Orgy channel the classics of the 50s/60s era and are delivered with apparent ease by bewitching vocalist Alexandra James, coming on like Amy Winehouse crossed with Elvira, and her devilishly suave and sharply-dressed right-hand man, Zachary James on guitar. The live lineup is ably augmented by a top-notch backing band, which even includes a saxophonist; the first of two featuring this evening. This pair are no metal act though, despite their love of the genre and the association with the occult. But as Alexandra says: ‘Why can’t you love Roy Orbison and hail Satan at the same time?’

Next up is Uncle Acid & the Deadbeats, who are an entirely different prospect. Picture vintage-era Sabbath minus the engaging, maniacal frontman. They are a mass of long hair, overdrive pedals and very loud, riff-laden doom. They are a force to be reckoned with though and, having supported the aforementioned Ozzy and co. back in 2014, are clearly capable of delivering the goods alongside their peers and the forefathers of the genre or of headlining their own show in a dark, sweat-drenched pit of a venue. Tonight though, they are more of a downbeat affair, somewhat at odds with the exuberant, party atmosphere.

All of tonight’s acts have released music via the independent Rise Above Records, owned by Lee Dorrian of the band Cathedral and formerly of Napalm Death. As someone who has a reputation as a control freak, it speaks volumes that Tobias Forge opts to present a lineup based on style, vibe and overall atmosphere with loyalty to a label that was instrumental in supporting his early offerings, rather than take out a couple of bigger, guaranteed audience draws. More power to him.

Following the atmospheric, scene-setting choral intro music, a gigantic white curtain dramatically drops as the band appears, all guns blazing, with Kaisarion. The opening track from their latest album, Impera is a frenetic blend of pop, hard rock and even a touch of prog. Its uptempo, uplifting and infectious quality serves as the perfect start to the set. Crowd favourite, Rats follows, with its simple, singalong chorus/chant and then it’s swiftly into the dirty, rumbling bass riff intro of The Pinnacle to the Pit, which slows things slightly in this three-pronged salvo. It’s easy to understand why Ghost continues to appeal to a much larger and more varied audience. At this point, they are in the enviable position of drawing from several classic albums with varying, yet consistent, styles and already boast a repertoire that some long-established acts could only dream of. On top of that solid foundation, they present themselves with good humour, which is a quality that can be lacking in the genre. That’s not to say this is some disposable novelty or joke act in any way, shape or form; it’s just that there is nothing po-faced about them and their delivery often comes with tongue firmly in cheek. A good example is the lighthearted guitar duel that precedes a hymn-like instrumental segue, Devil Church, which culminates in the rhythm ghoul playing Scotland the Brave, much to the delight of the audience. Devilish fun indeed!

Music aside, the whole show is a fantastic spectacle to behold; with Queen-esque pomp and circumstance. In fact, the stage set is reminiscent of those employed in the 70s by many classic hard rock bands. There is the oversized drum riser, dry ice, gangway platforms and a fantastic lightshow to boot. Huge stained-glass cathedral-like backdrops frame the entire production. As the preening, posturing frontman, Forge also struts and projects in much the same manner as Freddie Mercury in his prime. He has that similar flair, banter and rapport with the audience that only a few select artists seem able to achieve. The crowd lap it up and hang on his every word. ‘Do you like movies?’, poses Papa before launching into the excellent lead single from Impera, Hunter’s Moon. The Nameless Ghouls are also out for a good time; ready for a release, a boogie, a bang of the head, a shimmy of the ass or even a hypnotic sway to the brooding slow-burner, Call Me Little Sunshine, which sees Forge decked out in full Papa Emeritus IV pontiff-like regalia.

Within the satanic-rock framework, there is something on offer here for just about all tastes, such is the versatility and diversity of the setlist. Despite the myriad of styles, they still manage to make it work and, somehow, pull it all together into one consistent package, which is no mean feat. Tobias wears his influences on his sleeve; some more blatant and utterly unrepentant than others. He is savvy enough, though, to take the best bits and make them his own. While this is, to all intents and purposes, a solo project; the work of one uber-creative talent, the Ghouls are a team of crack session musicians who deliver Forge’s vision despite the restricted sightlines of their elaborate headwear. The band evoke the best of Alice Cooper, KISS, Def Leppard, Sabbath, flirt with classical elements and pepper the set with flourishes of prog here and there. The latter is best exemplified by Miasma, which features the recently-resurrected Papa Nihil expertly executing the second sax outing of the evening.  If all that isn’t enough, you even get a dose of hammond organ-drenched psychedelia with Kiss the Go-Goat and Mary On A Cross, both evoking the experimental L.A. – San Francisco scene of the late 60s/early 70s. Think Jefferson Airplane in a smoky Whisky A Go-Go and you get the gist. There is also an abundance of melodic sensibility and pop. A recent and welcome addition from the new album is, Spillways, which comes across as a tribute to early Bon Jovi, Van Halen in their prime or even ABBA at their most flamboyant. The insistent piano intro stands out as a real attention grabber.  The set is not all high-octane numbers though and has a softer side. The excellent musicians deftly manage a change of pace with the lush, harmony-laden and orchestral-like arrangements of He Is, a beautiful and haunting ballad, as well as soaring instrumentals, Helvetesfönster and Spöksonat. These segues no doubt allow the hardworking singer some respite in what must be a very demanding performance, not least with the dynamic vocal workout, choreographed pyro and theatrics, in addition to numerous costume changes.

It’s not long before the band ramp things up again and, if crushing hard rock/metal is more your thing, you get plenty to enjoy with the likes of Cirice, which won a 2016 Grammy Award for Best Metal Performance, alongside Faith, Ritual and Mummy Dust, all of which could quite easily be mistaken for vintage NWOBHM or mashups of Metallica tracks from their different eras. They are a riff-heavy barrage, all featuring blistering fretwork work by the lead guitarist ghoul, affectionately referred to as, ‘the little guy’ by his boss. It’s no wonder that Metallica frontman James Hetfield, publicly and repeatedly extols the virtues of one of his favourite bands.  Tobias Forge replays the complement by including a cover of Enter Sandman in the setlist.

‘I hope you’re happy and you had fun,’ says Forge, going on to acknowledge those coming out to the show despite the ongoing pandemic, with the fear and anxiety many have experienced as a result. The band leader does seem genuinely appreciative, thankful and humbled by the whole experience, showing his gratitude to everyone in attendance as well as the production crew and venue staff for making all of this possible. As the end of the set draws close, it’s a double whammy of crowd pleasers to round off the night. First up is the ‘proper banger’ Dance Macabre with its infectious ear wormery and feelgood factor followed by the anthemic classic Square Hammer, introduced by Forge: ‘One last song. Now go home and fuck someone or go fuck yourselves, Glasgow”.  After an evening of top-notch, classic arena-filling rock and showmanship, it is evident that none of the 8,000 + worshippers here tonight will be giving up the Ghost anytime soon.

Setlist 

Kaisarion

Rats

From the Pinnacle to the Pit

Mary on a Cross

Devil Church

Cirice

Hunter’s Moon

Faith

Spillways

Ritual

Call Me Little Sunshine

Helvetesfönster

Year Zero

Spöksonat

He Is

Miasma

Mummy Dust

Kiss the Go-Goat

Enter Sandman

Dance Macabre

Square Hammer