Ghost rolled into Pittsburgh on July 18th and transformed the PPG Paints Arena into an unholy cathedral. Anointed fans from across the country gathered to partake in the ritual.
Tobias Forge, in his current Papa V Perpetua form, led the Swedish band through an incredible set that mixed satanic and ghostly flair with serious musical chops. The lights dimmed, the massive, tattered curtain filled with light and Papa V appeared on screen singing the opening to “Peacefield”. It was a simple yet powerful beginning.
Then came the dramatic curtain drop and boom. We were in it.
The stage was sleek and ominous, with an inverted cross lighting rig hanging above and a gothic vibe that somehow made a 19,000-seat arena feel intimate and eerie. The Nameless Ghouls were decked out in black formalwear, the Ghoulettes rocked bat wings, and Papa V tied the whole group together with his modern black and chrome outfit. This is my favorite iteration of Ghost. It’s formal, clean and creepy with a touch of futuristic class.
Phones were locked in Yondr pouches for the show. It forced everyone to be completely present. Honestly? It was a great choice. The energy felt more alive because of it, like the entire crowd was tuned into the same dark frequency.
This tour is in support of Skeleta, the band’s sixth album, though the setlist wasn’t overly heavy with new material. Still, the songs they did play from it hit hard. “Lachryma” sounded heavier than on the record, “Satanized” brought the catchy pop-like weirdness, and “Umbra” brought enough cowbell to satisfy Christopher Walken.
Some of the biggest moments came from 2022’s Impera. “Call Me Little Sunshine” resurrected Papa Emeritus IV in full, robed glory, and “Darkness at the Heart of My Love” was pure, eerie elegance, made even creepier by the jeweled mask that matched Forge’s eyes.
The band was razor sharp and technically perfect. “Cirice” was a highlight, with its crushing riffs set against a backdrop of stained-glass cathedral windows. The Nameless Ghouls on guitar and bass absolutely shredded, and the drummer and keyboardist were the heart that kept the blood of the band flowing in time.
And the pyro? They waited. And it was worth it. When “Year Zero” hit its crescendo and flames finally roared to life, it felt massive. Almost holy. In the most sacrilegious way possible.
From there, it was hit after hit: “He Is,” “Rats,” “Kiss the Go-Goat,” and “Mummy Dust,” which brought a glorious confetti downpour. “Monstrance Clock” wrapped the main set like a twisted hymn.
But the real payoff came in the encore. After being cut short by weather during their last Pittsburgh show, Ghost gave us the full sendoff this time: “Mary on a Cross,” the glittering disco-metal of “Dance Macabre,” and a triumphant, arena-shaking finale with “Square Hammer,” complete with the clergy and crowd fist-pumping in perfect sync.
Papa mentioned their U.S. journey started at Mr. Smalls, which has a capacity of just under 1,000, back in 2013. Now here they are, selling out arenas and putting on one of the most creative, finely tuned rock shows out there.
They’ve taken the blueprint of classic arena rock and summoned something even bigger, stranger, and more spectacular. Ghost didn’t just play Pittsburgh; they possessed it.
