Ghost @ John Cain Arena
AN UNEARTHLY DELIGHT
Review and photos by Brittney McCarthy of BM Images
Walking around the outside of John Cain Arena on this gelid October evening, I walked through lines of Ghouls and Ghulehs wrapping around poles, patiently waiting to be let into the ritual. Ominous clouds were embracing Melbourne, providing a rapidly blackening backdrop for the hoards of fans who were bedizened in theatrical fervour – face paint reminiscent of Papa’s past, Grucifix adorned clothes and faces, macabre nuns, and Papal regalia. Looking around, it felt like a vast gathering for an ancient ritual.
The air brutally chilled our bones as promises repeatedly rang out through the air, reassuring us that entry was imminent. Whispers soon circulated that Southeast Desert Metal, self-described as the "most isolated metal band in the world", wouldn't be gracing the stage. The extensive production efforts for Ghost had delayed the night, and as a result, the band were forced to cancel their set. An immense sense of respect for their journey from Santa Teresa, a remote Arrernte community an hour from Alice Springs, echoed in conversations online and off. Thankfully, for Melbourne fans in search of an Australian desert metal experience; a show was arranged at The Bendigo Hotel for the following night, featuring Melbourne’s own RUN and Primitive.
At last, the arena doors opened. The congregation spilled into the venue, eagerly seeking hot food to warm up from the inside and armfuls of Ghost merchandise. They continued to wait patiently, as The Clergy were yet to arrive.
When the arena's lights finally dimmed, and the curtain dropped to a divine play of smoke, pyrotechnics, and lights unveiling Ghost in all their theatrical glory. Opening with Kaisarion and moving into what is my personal favourite, Rats. The audience's worship was immediate. With the stage set as an opulent cathedral replica, complete with glowing stained-glass arched windows that shifted in colour to accompany each song, this impressive backdrop played a significant role in elevating the ritual.
Papa Emeritus IV, (Tobias Forge), emerged wearing rat-bitten pants. Over a black victorian collared steampunk shirt, he donned a gold sequin jacket featuring a prominent "Fuck You" patch on the inner left lining with skull and crossbone details on each sleeve. His several costume switches throughout the show accentuated the theatrical narrative. The Nameless Ghouls (and Ghulehs), with their steampunk-inspired helmets, were the perfect cohort.
The Clergy, and the lore surrounding Ghost attract dedicated and adoring fans of all ages. Ghouls were pressed against the barrier screaming with arms outstretched, singing along with each song; their movements theatrical and intentional. Signs were dangled over the edge of the barrier, mostly declaring love for lead guitarist Sodo (Per Eriksson).
Watching an artist live carries an inherent captivation, especially when they resonate so profoundly with their songs and narrative. The highlight of the night was undeniably the resurrection act during Miasma. A deceased Papa Nihil was theatrically wheeled out in a coffin and brought back to life, to then deliver a saxophone solo that had the crowd in ecstasy. Papa then paused before Mary On A Cross to let us know, “One day I will perish like my Dad. That’s not easy to face.” After Papa delivered this sombre thought, the question left on everyone's lips was: How much longer do we have with Papa Emeritus IV?
The encore, a potent trio of songs, was a testament to the The Clergy’s understanding of the congregation. Each track brought with it a new surge of energy, culminating with Square Hammer. The song ends the night with a bang - a literal explosion of pyrotechnics cascading down onto the stage. The echoing promise to "swear before the devil" left whispering in our souls.
Ghost's performance is not just another rock show. It is an intricate tapestry of theatre, narrative, and powerful music. A juxtaposition of dark occult themes with their pop-rock hooks crafts an otherworldly experience. Melbourne's evening with Ghost wasn't just the penultimate stop on the Re-Imperatour; it was an entrancing ritual celebrating the ethereal and the eternal.
