Ghost – 2015. Photo Credit: Gary Alcock

Ghost are the sort of band that attract a huge diversity of fans, all with an intensity of support and admiration for the Swedish occult rockers and their penchant for matters Satanic and enormous, 70’s influenced tunes. Now deep into a tour that has seen them traverse the USA as well as mainland Europe in support of their critically acclaimed and warmly received third album, Meliora (Spinefarm) – Ghost Cult’s Album Of The Year for 2015 – this final show of 2015 had a real sense of occasion about it.

Ghost – 2015. Photo Credit: Susan Wall

The sold out venue is heaving; literally and (in terms of audience anticipation) figuratively. Fellow Swedes Dead Soul provide a, ahem, lively opening. Their atmospheric blend of Nine Inch Nails industrial rock meeting Nick Cave and Johnny Cash in a darkened alley and agreeing to go for another round of drinks somewhere less than salubrious is a dark and delicious delight and the audience’s annoyance that their 30 or so minutes seems to be over in a flash, is palpable. Come back soon, gentlemen.

Ghost – 2015. Photo Credit: Gary Alcock

Ghost arrive as long lost heroes. The roar of approval for the purple robed Papa Emeritus III is as loud as it is warm. Ghost have, quietly but assiduously, built themselves an enviable canon of songs that are greeted with raucous and genuine affection. Much of the set is inevitably around the latest record which is all fine and dandy given that it’s one of the best of the past 12 months. ‘Mummy Dust’ has an added venom and sense of danger than is perhaps initially obvious on the album and is all the better for it. ‘Majesty’ reveals itself as one of the album’s tent-poles, layered and intoxicating. ‘He Is’ has become something of an instant classic, 1000 voices joining in unison around a song that seems destined to be this generation’s power ballad of choice. Never has the phrase Satanic Abba seemed more apposite. ‘From the Pinnacle to the Pit’ has one of the filthiest basslines that you’re likely to hear this or any other year and is greeted like some twenty year old classic rather than a new cut from a new album.

Ghost – 2015. Photo Credit: Gary Alcock

Ghost’s ability with melody has been well documented; live they have become a beguiling and compelling proposition. Anyone who harboured any doubts about whether they could cut it as a headliner or move out of the constrictions of simple novelty act should dispense them immediately. Ghost are intelligent, self-aware and self-deprecating in equal measure. They have evolved; they have a better sense of showmanship and audience interplay. Where early shows revolved around Papa shuffling around the stage simply dousing the audience with incense has now morphed into a full on rock show with The Nameless Ghouls losing the monks hoods and sporting very fetching demon masks and dominating the front, sides and back of the stage. ‘Year Zero’ has drama and danger in equal measure, ‘Guleh’ feels cathartic and invigorating. The old – and misplaced – adage that cover versions are never as good as originals has now been ground to (mummy) dust as the band’s cover of the Rory Erikkson song ‘If You have Ghosts’ amply demonstrates- this is now, unequivocally, their song. Closing track ‘Monstrance Clock’, arriving as assuredly as the morning sun, is valedictory.

I doubt whether Ghost actually intended this, but this show at the start of Christmas week was the capital’s alternative Christmas Evensong, such was the intensity of performance, the proliferation of ecclesiastical ritual and an overall ambience of rich, invigorating passion.

Stunning; absolutely stunning.

Ghost – 2015. Photo Credit: Gary Alcock

WORDS BY MAT DAVIES

 PHOTOS BY GARY ALCOCK and SUSAN WALL

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