Written and Photographed by Eric Sperrazza

Earlier this year, I compiled a venerable omnibus on the history and lore of the band Ghost (You can read it here: ). Down within the rabbit hole of the macabre and sometimes silly content that Ghost leaves like breadcrumb trails for fans lies a wildly creative and ongoing story of a Rocky Horror Picture Show-like clergy and their various “Papas.” Through my deep dive into Ghost, I learned that if you listen to the band because you like the catchy pop-rock singles, you will rightfully enjoy yourself at a live show. But if you follow the band’s running mythos, you would be given all the fan service, seeing them perform live! 

On August 25th, Ghost was scheduled to perform at the Freedom Mortgage Pavilion on the Camden, N.J. Waterfront with their 2023 RE-IMPERATOUR. After spending the spring researching and putting pieces together of Ghost’s story like I was trying to solve the mystery of “The Shooter on the Grassy Knoll,” I could not pass on the opportunity to see the spectacle live.

I spent many great shows at the arena on the Camden Waterfront. I vividly remember seeing some of my favorite bands with a seat high above on the lawn among close friends and fellow musicophiles, all we could afford, being young and broke. It felt ironic and serendipitous, all at once, that I would be back professionally and sharing the joy of what was happening on that hot summer stage with new friends and musicophiles. The first thing I did see on that stage was something that should be, nay, needs to be shared with the masses. The opener, Amon Amarth!

The band hails from Stockholm County, Sweden, and insists they are melodic Death Metal, but there is no doubt they are unequivocally Viking Metal. Where would I come to such a conclusion? Barring the fact that the entirety of the content of their songs deals in Viking culture and mythology, the stage set was a giant gold Viking helmet adorned on either side by inflatable stone-looking statues of Vikings. If that was not enough to fit this band into the Nordic genre, take the fact that there were two men dressed as Vikings, swinging weapons before the crowd on either side of the stage. They did this down the set list through songs like “Ravens Flight” and “Deceiver of the Gods.” But when the band began to play “The Way of Vikings,” these two live and armed men battled on the center of the stage, much to the thrill of almost everyone in attendance. During the song “Put Your Back Into The Oar,” Hegg (lead vocalist) got the whole audience to “row” in unison as if we were launching a warship full of Berzerkers out to sea. If that wasn’t enough of a show, an inflatable serpent appeared from the side of the curtain, only for “Mjolnir,” Thor’s mighty hammer, to come down into the hands of Hegg to battle with the monster. So, in closing, one of the most entertaining stage shows I have ever seen, but don’t sell me on the fact they are not Viking Metal. I’m not buying.

After a 30-minute intermission, the lights went dark, and the sounds of an eerie soul-stirring choir began to creep through the arena and up onto the lawn. And, as if having the audience leaning into the terrifying harmony was purposeful, with a thunderous boom that would’ve startled even the toughest of Vikings in the back, the curtain fell to reveal the renowned band of Nameless Ghouls. High-stepping from the back and tearing into the song, “Kaisarion” was the one-and-only devilishly flamboyant and inimitable Papa Emeritus IV! 

As the Nameless Ghouls thrashed about, Papa sashayed from corner to corner on stage, one foot upon the stage monitoring systems and leaning toward the crowd with impetus. They collectively began a nineteen-song set list that dove into every chapter in the story of Ghost thus far.

Ghost gave the packed ticketholders in the sold-out seats and, shoulder-to-shoulder on the lawn, a cavalcade of their hits. From “Spillways to ” “Rats” and “Cirice,” The Fourth Papa of the band moved about, working the crowd in his lavish suit, like interpretive dance to the music around him. That was until the band performed the single, “Call Me Little Sunshine,” to which Emeritus crept from the back of the stage to his microphone in full papal regalia. At one point, a glass coffin was rolled onto the stage, to which two stage hands opened and resuscitated the late Papa Nihil (The first Papa in the story of Gost.) with defibrillators—out jumped a revived Nihil for a saxophone solo, only to gently fall back into his coffin and be rolled away.

The band went on performing, touching on their TikTok-trending smash, “Mary on a Cross.” Before finishing the regular set with “Respite on the Spitalfields,” Emeritus the Fourth waxed on about the band’s many visits to Philadelphia, highlighting the great Union Transfer on Spring Garden with fondness. After a failed attempt at telling us all to go home, Papa agreed to three more songs, finishing with “Kiss The Go-Goat” and the Smashes, “Square Hammer,” and “Dance Macabre.” With a swarm of confetti swirling & sparkling from the house lights, it was as if we had just witnessed magic, and with a poof of smoke, the entertainers disappeared, leaving twinkling dust in their wake.

Walking through the crowd and back to the parking lots, I had the opportunity to size up the fans in attendance. There were Ghost t-shirts as far as the eye could see and many in makeup. For every Papa Emeritus cosplay, there were just as many undead nuns and even folks dressed as The Nameless Ghouls. It felt like I was leaving a Misfits or KISS show. It felt like the kid in me was at a dark rock & roll circus once more, and that was what seeing the show live rounds out for the fan. The music is nostalgic, for sure. But the show is a homecoming to many Baby Boomers and Gen-Xers and the next generation’s first opportunity to be enveloped in the fandom of a larger-than-life band.

As for the Freedom Mortgage Pavilion, I was excited to see the venue, especially with the recent sponsorship change from BB&T. However, it didn’t feel renewed or rejuvenated. It felt old, unkept, and stale. It was as if the first time they painted and cleaned up spilled beer in the arena was the last time they painted and cleaned up spilled beer. The letdown didn’t end with the darkness of the venue. The staff seemed exasperated and put off to assist, even though the event was beginning. Worst of all, the Live Nation security presence needed to be in tune with the band security, creating confusion and confrontation. It was glaringly apparent that the new name on the sign was merely a silk bonnet on a pig.

The kid in all of us left joyful and content, happy with the memories we made and eclipsing any of the pitfalls of our surroundings. Isn’t that the promise of rock and roll from the very beginning, anyway?

Ghost

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Amon Amarth

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Photographs by Ester Segarra and Jimmy Hubbard

“Hey, Boys & Ghouls! Are you ready to raise the dead?” said the late Lux Interior of The Cramps on a 1995 Halloween episode of Beverly Hills, 90210. 

Yes, rock music has been no stranger to macabre-themed content. Along with The Cramps, my childhood was peppered with bands whose songs and stage shows were a tongue-in-cheek amalgam with a darkly B-rated Horror Show vibe. From Alice Cooper, KISS, The Damned, and The Misfits to Gwar, Slipknot, and Rob Zombie, it seemed that rock & roll was the perfect place for Halloween to exist year-round. 

In the 80s, the great ‘satanic panic’ of Heavy Metal spawned from conservative religious sects had bands leaning into devilish language and imagery as “music to piss off the squares to” became a selling point for albums and merchandise (See any Iron Maiden album cover by comparison to the college credits in history & mythology you earn by listening to a single record!).

However, in a day and age where the internet provides shock and spook with a touch of a key, it lends to a music scene that has “seen it all.” So, imagine my surprise when I heard the band Ghost while finagling the radio dial one day. Their sound is a vintage early 80’s hard rock, akin to The Scorpions, REO Speedwagon, and Def Leppard; however, the lyrics seemed more fitting for a Death Metal band. I was confused and intrigued but thoroughly entertained! I could not foresee the rabbit hole the band would drag me down with its album themes, stage shows, and media content, a venerable realm of fictitious characters, and long-running storylines. Some bands have concept albums, but the entirety of Ghost is beyond that. There is lore, character development, and imagery like nothing I had experienced before. So, as we prepare for Ghost performing this summer at The Freedom Mortgage Pavilion on the Camden Waterfront, let’s take a deep dive into every dark corner and a modicum of the band and allow this to serve as a ‘Rosetta Stone’ for new fans who, like me, are still trying to wrap their brains around what it is they are listening to.

Ghost is the brainchild of Swedish musician and songwriter Tobias Forge. An artist with experience in a full spectrum of genres, Forge fronted everything from Glam and Punk Rock bands to the more recent Alternative Rock act, Magna Carta Cartel. Forge has cited various inspirations for the band’s image and music. In interviews, he has mentioned being influenced by classic rock bands such as Black Sabbath, Blue Öyster Cult, and Kiss, as well as horror movies and the occult. But the crux of Ghost was birthed from his catholic upbringing. The stories and imagery in his childhood church and the regalia of it all terrified Forge as a young child. In an interview with the Chicago Tribune, he said: “I grew up with a lot of stories about exorcisms, and the devil, and angels, and all of that. And I think that’s probably where some of the darker elements of my music come from.”

Forge has described Ghost as a “theatrical rock band” that aims to offer a unique and entertaining experience to its fans with an importance to the band’s image and live performances, which includes elaborate costumes, sets, and props, as well as the use of various characters and personas. Forge has also spoken about his interest in creating a larger-than-life mythos for Ghost, with a focus on showmanship and storytelling. He has described the band’s music as “melodic rock with a pop sensibility,” with a focus on catchy hooks and melodies. Regarding the band’s lyrical themes, Forge has explored topics such as death, Satanism, and the macabre, often with tongue-in-cheek humor. Overall, Ghost’s music and image create a unique and immersive experience for fans, focusing on theatricality, storytelling, and rock anthems that have you singing the hooks in your head all day.

Ghost’s early years were shrouded in mystery, as the band members wore masks and used pseudonyms to hide their identities. Forge, who goes by the name Papa Emeritus, is always portrayed wearing a skull mask and a cardinal’s hat. The rest of the band members, known as the Nameless Ghouls, wear identical masks and robes, making it impossible to identify them individually.

Initially, Forge did not want to be recognized at all. His original idea was to have a “different” Papa Emeritus for every album and subsequent tour. Using face prosthetics and variations on his makeup, as Papa changed, so did the story of the albums and even the uniforms of the Nameless Ghouls band onstage. During a 2017 court filing over royalties, fans discovered that each different Papa was the same – Tobias Forge. As for the Nameless Ghouls, musicians from all walks of life have been cited as being a part of Ghost. Clever fans have connected the dots to former members of Magna Carta Cartel, Ugly Kid Joe, and even the tribute band Lez Zeppelin.

In addition to their music, Ghost has also developed a complex and intriguing mythology around their image and lore. Each band member is associated with a particular persona, with Papa Emeritus being the most well-known. Other characters include Sister Imperator, who serves as the band’s “mastermind” and communicates with fans through videos and social media posts. The Papa, for each new tour, carries with him new backstories, interactions with supporting characters, and new themes to their songs. 

Breaking down Tobias Forge’s alter egos in Ghost – 

Papa Emeritus I – The first lead singer of Ghost, portrayed as an older, bearded man wearing a skull mask and a miter. He appeared on the band’s first album, Opus Eponymous, and in the music video for “Secular Haze.”

Papa Emeritus II – The second lead singer of Ghost, portrayed as a younger version of Papa Emeritus I with a black mask and miter. He appeared on the band’s second album, Infestissumam, and in the music video for “Year Zero.”

Papa Emeritus III – The third lead singer of Ghost, portrayed as an even younger version of Papa Emeritus with a white mask and miter. He appeared on the band’s third album, Meliora, and in the music video for “Cirice.”

Papa Nihil – The next Papa Emeritus, also known as Papa Emeritus Zero, is portrayed as an old, frail man with a white skull mask and miter. He appeared in the music video for “Rats.”

Cardinal Copia – Portrayed as a more flamboyant and energetic character than his predecessors. He wears a black and silver outfit with a red scarf and white skull makeup on his face. He first appeared on the band’s fourth album, Prequelle, and in the music video for “Rats.”

Papa Emeritus IV – The current Papa, formerly Cardinal Copia, was officially anointed and has been the longest-running lead singer avatar. Seen in videos like “Spillways.” 

In the realm of Ghost, a host of recurring supporting characters enrich the band’s narrative and performances. Among them, Sister Imperator assumes the role of a wise and aged nun, serving as a guiding mentor to the band members. Offering her counsel and guidance, she appears in various videos and live shows. Another notable character, Papa Nihil, takes the stage as the band’s former frontman and the father of Cardinal Copia. Portrayed as an older man with a cane, Papa Nihil regales the audience with tales of the band’s past. On the other hand, the Nameless Ghouls maintain an air of mystery and anonymity as the anonymous musicians accompany the lead singer. Clad in identical costumes and masks, they add to the enigmatic allure of the band. The Ghuleh, a seductive and dangerous female character, makes her presence felt in various GHOST songs and videos, contributing to the band’s theatricality. Additionally, the Ghoulettes, female backup singers, join the lead singer on certain songs, donning matching costumes and masks, enhancing the visual spectacle of the band’s electrifying live performances. These supporting characters collectively bring depth and visual intrigue to the immersive world of GHOST.

Above all, these characters are the true architects within the stories; The Clergy. Never truly seen, The Clergy are responsible for anointing new Papas and handling all of Ghost’s social media as every post on Youtube, Instagram, and the like always starts the same way, “A Message from The Clergy…”

In just a short time from their 2010 debut release of Opus Eponymous into the world, the band’s nostalgic sound and wildly entertaining & creative ethos they immerse their fans in have made Ghost t-shirts ubiquitous worldwide. Their videos and multimedia shorts have tied together stories, engaged fans, and kept them wanting more. In fact, Loudwire Magazine named Tobias Forge as the Metal Artist of the Decade in 2019. 

All the band’s success is not without nay-sayers. Heavy Metal purists have lashed out at Ghost for cosplaying in a sandbox of Metal without the authenticity of bands like Slayer or Judas Priest. However, those critics need to look deeper into what Ghost is. A fun submersion into an undead circus of pop rock. A love letter to our collective youth and the torchbearers of the next generation of Alice Cooper and KISS. If you get it, you will find yourself more than thoroughly entertained. If you try and compare a Ghost LP to Sepultura, you will surely find yourself wanting.

Either way, Tobias Forge and Ghost press on with appearances in Iron Maiden’s RPG game, Legacy of the Beast, their own soon-to-be-released game, merchandise, new albums, and undoubtedly new Papas and stories to come. Those that see Ghost, and more appropriately Tobias Forge, for the genius creativity in storytelling in the modern era, the stage shows. The sound of the plucks on the heartstrings of Gen-X’ers, millions of fans globally, are here for all of it and waiting with bated breath for the next theme, the show, and the next anointing! 

Tickets are still available to see Ghost with the opening act, Amon Amarth, on August 25th at the Freedom Mortgage Pavilion in Camden, New Jersey. 

To purchase Ghost’s new album, Phantomime, Click here.

Follow Ghost online

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The only thing that’s constant is change and Zymotic Flow’s frontman Alex Kiedasich says the band is always evolving, changing and adding to their sound. It’s true, they’re unlike other acts in Philly but even things designed to change need to have a measure of consistency. But, while it’s never been a secret that what drives music (as with all art) is a sense of self, you can’t risk losing your fans.

“We’re always experimenting with new sounds,” says Kiedasich. “We introduced a keyboardist, Dan Robbins, after I joined the band and its been fun writing new melodies and parts with him.”

The effect was great changes for some of Zymotic Flow’s material but the trick to balance and not alienation is to mix it up. “We play some of our older tunes unmolested and some covers that everyone can get down to,” explains Kiedasich.

Having songs people can get down to is instrumental in creating that crazy electric atmosphere that drives lives performances. Kiedasich says preforming live is the best part about being a musician. “The energy and adrenaline. It’s hot and heavy and loud and if you do it right, you can start a party. It’s my favorite thing about being a musician. The energy from your band mates and the crowd all culminate to this amazing experience you share with everyone there.”

It doesn’t hurt that tracks like “Ghost” or “Delirium” are enchanting with lyrics that are layered over chill inducing instrumentation, not to mention the vocal performance of Kiedasich which you absolutely have to hear for yourself. It’s an experience listening to Zymotic Flow and as it should be. Great music will move you, take you somewhere, tell you a story, scream and claw until it’s out of the background and the center of your activities -what ever they may be. A good track will also be rewarding every time you listen to it.

Enter: “Delirium”.

“Our first single called “Delirium” tells the story of aging and acceptance and how these effect your thought process as a whole. It’s an internal discussion between teenage angst and early adulthood apathy that I think everyone can relate to,” says Kiedasich.

Rightfully so, Kiedasich puts it as the song he’d like the band to be most famous for. And it acts as a brilliant reference point for what exactly it means to Kiedasich to be an artist.

“Music is about conveying emotion or a specific feeling whether it be the best feeling in the world or the absolute worst. I think connecting with people on an emotional level via lyrics and chord patterns and sound is what it’s all about.”

This is only the beginning for Zymotic Flow and 2014 holds; more shows (which branch into Boston, Brooklyn, and Washington DC), a new EP closer to the end of the year and Kiedasich says they’re going to continue to book bigger shows and ones as far out as they can reach, then slowly extend that reach.

Why should you be there?

A lot of musicians you are most likely familiar with hail from Jamaica. Bob Marley, Toots & The Maytals, The Gladiators, The Mighty Diamonds, Culture, Big Youth, Eek-A-Mouse, and even Shaggy (you have that song stuck in your head now, don’t you).

And did you know that Jamaican musical styles such as reggae and ska had a massive influence on British punk and new wave bands of the 70s- The Clash, Elvis Costello and the Attractions, The Police, The Slits, and The Ruts?

Come show your appreciation for Jamaican roots tomorrow night, the Trocadero is hosting The Philly Relay’s Reggae Jam. Doors open at 7:30. The show will feature Third World, Ghost, Derrick Barnett and the Statement Band, and Soca Deva Jadine.

Tickets are $35 for general admission ($5 more at the door) or $65 for VIP.

And VIP is certainly the way to go- early admission, free dinner, artist meet & greet, drink specials, private cash bar, and VIP balcony seating.

Bring your student ID for a 20% discount. Tickets are available via TicketFly.