GHOST are dancing their dance macabre way to South America after a long-awaited return – their last tour took place in 2017 as part of the Maximus Festival lineup. I’m pleased to say that this time around, the band is headlining two sold-out concerts in the heart of the wild city of São Paulo, Brazil. We attended the show on September 21st, 2023, at Espaço Unimed.
Fans were avidly awaiting tickets, and their enthusiasm translated into a rapid sell-out in less than 5 minutes, with a group of 20 people even camping in front of the venue for nearly a month. Fans from not only the state of São Paulo but also from other states like Paraná, Ceará, and Minas Gerais came to be part of this event. This is just a taste of the fervor of a Brazilian concert crowd, always eager for live music.
My journey started quite early on the first morning of spring, precisely at 4:30 a.m. Attending a concert in Brazil, especially in the front row, requires some dedication, you see, you have to earn it. The venue is conveniently located just a few meters away from a subway station, making it easy for everyone to find their way.
By 5:30 a.m., social media reports indicated that there were already 80 people waiting in line. When I arrived at 6:30 a.m., that number had grown to 100. Anticipation filled the air as people sang tunes and dressed up in various Emeritus versions. It was worth noting that most of the crowd, being from the Gen Z generation, surprised me with their friendly demeanor. Instead of the typical rock concert behavior, I saw colorful friendship bracelets being given out, fan-made signs and art, plushies inspired by the band’s mascot, tarot cards, and even candies. Having attended hard rock and metal concerts for the past 19 years, this change felt like a breath of fresh air.
Unlike in some other countries, attendees in Brazil cannot bring food or water into the venue, let alone umbrellas or sunscreen, which was challenging given the scorching heat of 36ºC. The solution was to allow people at the front of the line to hold spots for one another when necessary, so they could grab a meal or use the restroom. This kind gesture created a sense of camaraderie among the waiting fans, for me it was 12 hours of waiting. At one point, I decided to lie down for a bit, using my purse as a pillow, and while in a semi-conscious state, I heard my friend’s voice telling someone to wait. I wondered, “Wait for what?” as I opened my eyes to find a Secundo [fan dressed in Papa Emeritus II attire] staring at me, just inches from my face. Lovely.
When it was finally time to enter the venue, not a single person was at ease, as everyone had their sights set on securing a spot in the front row. Fortunately, I managed to secure a place in the second row, which was still close enough.
The stage had already been set for CRYPTA, but it was worth noting that the opening act the night before had been canceled due to a delay in GHOST‘s equipment arrival from Mexico. Tobias, the band’s leader, thanked the crowd for their understanding. CRYPTA began their set right on time, starting with an intro from their new album. Fernanda, the vocalist, was a natural frontwoman and delivered an astonishing vocal performance. Tainá and Jessica had their standout moments, and after the third song, they began interacting more with the audience. They also announced that this concert was the kickoff of their tour for the new album. Fans sang along and chanted the band’s name multiple times to celebrate this milestone with them. After the concert, many fans had the opportunity to greet and take photos with the band members near the merchandise stand.
Shortly after, the stage was being prepared for the main act, and a white curtain dropped to conceal what was happening behind it. Around half an hour before the concert, some girls near me started feeling unwell due to the lack of air, and firefighters came to assist. Thankfully, no one had to be removed, and the situation improved shortly afterward.
To my surprise, the piano intro and Gregorian chant began about 15 minutes earlier than scheduled. When “Imperium” started, it was nearly impossible to describe the deafening volume of the audience, as most people there were either attending their first GHOST ritual or their first concert ever. It was truly a night to remember, no doubt.
The curtain finally dropped, and the Ghouls rushed onto the stage. The first notes of “Kaiserion” were slightly louder than the audience, but only by a small margin. When Tobias approached the microphone, the level of amazement reached new heights, showcasing what Brazilian fandom can be like.
My last GHOST ritual was also in São Paulo, back in 2017, and after such a long wait to see the band live again, I realized what a phenomenon they had become. The stained glass backdrop was intricately designed and more unsettling than before, featuring images of Nihil and various versions of Emeritus mixed with scenes from Dante’s Inferno. The drum structure rising in the middle of the stage and the captivating presence of each Ghoul, now adorned with steampunk-style masks, added to the spectacle. This playful side of the band had already been hinted at in the “Impera” album cover, a nod to Aleister Crowley.
The setlist spanned from “Opus Eponymous” to “Impera,” and every lyric was familiar to fans, from those in the front row to the last. The venue was packed, leaving no room to move. The performance retained some elements from previous tours that fans had come to expect, such as the serenade moment in “Cirice,” the throwing of Mummy Bucks during “Mummy Dust,” the incense during “Con Clavi Con Dio,” Nihil animatedly playing the saxophone in “Miasma,” and the scripted pranks between Papa and the Ghouls. It was heartening to see a band from my era reach the level of major bands like KISS. It’s not just about playing the songs; it’s about the entire concert experience, appreciating every tiny detail.
From “Call Me Little Sunshine” onward, the smoke and lighting changed slightly, creating an intimate atmosphere that couldn’t be fully captured by cameras. It felt as though only those present could describe the emotions that emerged during the live performances of the songs. Hats off to Tobias.
Then came the encore, and there was one song that many of us in Brazil had been eagerly waiting to see live – “Twenties.” Tobias mentioned that this song has a rhythm base inspired by Brazilian music. The crowd chanted “Twenties! Twenties! Twenties!” so passionately that it was clear we wanted that song. Tobias promised to include it in the next tour, and we can’t wait to see if he keeps that promise.
As all good things must come to an end, when “Square Hammer” was about to conclude, my friend threw her flag at the feet of one of the Ghouls. He didn’t notice initially because of his mask, but with some encouragement from the crowd, he picked up the flag, took it to the center stage, and handed it to Papa. It was a beautiful way to end the concert, with a Brazilian flag adorned with the white GHOST logo.
If you, dear reader, have ever considered coming to Brazil to attend a live concert, here are some tips: don’t forget to use sunscreen (even though you’ll likely have to leave it behind during security checks). If you want to be close to the stage, arrive as early as possible and opt for premium tickets (unfortunately, there is a division between general and premium ticket types). If you also want to purchase merchandise, you’ll need to choose between the front row or an official t-shirt, so choose wisely. Last but not least, be prepared to make new friends, as music has a unique way of bringing people together, “From the Pinnacle to the Pit.”
Written by Denise Di Lallo Ragazzo
Setlist
1.Kaisarion
2. Rats
3. From the Pinnacle to the Pit
4. Spillways
5. Cirice
6. Absolution
7. Ritual
8. Call Me Little Sunshine
9. Con Clavi Com Dio
10. Watcher in the Sky
11. Year Zero
12. He Is
13. Miasma
14. Mary on a Cross
15. Mummy Dust
16. Respite on the Spitalfields
17. Kiss the Go-Goat (Encore)
18. Dance Macabre (Encore)
19. Square Hammer (Encore)
