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Music Ghost, Wembley Arena London

Base metal for millennials forged by market forces

 

THE CONCEPT behind Swedish rock band Ghost is a marketing coup. An entirely anonymous outfit, originally centred around the anti-Pope dressed lead singer Papa Emeritus and his band of so-called “nameless ghouls,” the group are kind of a stadium-rock version of Slipknot.

 

But a lawsuit by former members of the band against its frontman ended his anonymity and we now know him to be Tobias Forge, whose current incarnation from last year’s album Prequelle is the red-suited Cardinal Copia.

 

Performing at what must be one of the biggest gigs in Ghost’s history, no spectacle is spared as fireworks explode, confetti cannons out and the stage is ablaze with pyrotechnics worthy of a Rammstein gig.

 

At one point there’s even a sax-playing pontiff, made all the more surreal given the set is modelled on the inside of a cathedral, complete with stained-glass windows.

 

Forge, clearly the ego of the band, frequently irritates as he addresses the crowd with a voice like John Kassir from Tales from the Crypt.

 

He introduces the naffest song, Mummy Dust, by bragging about how heavy it is then, after it’s performed, asks the crowd if they liked it. Meh. And new track Mary On A Cross sounds almost Eurovision.

 

The gimmick-laden set also sees the cardinal cycle out on a tricycle and a nameless ghoul on guitar performing the theme tune from EastEnders.

 

Yet, on the whole, Ghost’s big sound transcends the novelty of their image and Wembley is the ideal home for such ostentatious displays.

 

Prequelle is a commendable album and other hard hitters, including Cirice and Ghuleh/Zombie Queen, prove that Ghost have a knack for the melodious anthem.

 

Inspired by an array of heavy-metal forebears — Judas Priest and King Diamond spring to mind — not to mention a fair few nods to prog, death and black metal, Ghost are a bit of repackaging for millennials.

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