Location: Columbus, Ohio
Date: September 23, 2015
Ticket cost: $27.60 ($40.30 with Ticketmaster’s asshole-ish convenience fees)
Merch purchased: None
By: Kris Kotlarik
I think it’s about time for a pre-review rant about concert ticket prices. Shows that are at Alrosa Villa or Ace of Cups and/or promoted by Columbus Events Group are very reasonable in terms of cost with minimal advance fees. But then there’s Promowest Live and Ticketmaster. How do they think that adding a 50% markup on ticket fees is acceptable? Why even bother working with the evil empire that is Ticket[ass]master in the first place? There are plenty of good shows both at the Newport and the LC Pavillion, but these fees price me (and probably others) out of their shows.
That didn’t stop the Newport from nearly selling out last night, easily eclipsing the Decibel Magazine 2014 tour stop for the largest crowd I have seen at this venue, approaching upwards of 1,700 strong. With more than a handful of audience members dressing up in their Papa Emeritus garb, Ghost put on a stellar show that engaged the entire crowd. But was their performance worthy of an all-time favorite designation? What about Purson? Read on, together as one.
Set length: 40 minutes
This might be one of the few occasions where I can say with a straight face that the opening band sounded better than the headliner. …why are you chasing me with pitchforks? At least give me a chance to explain.
Perhaps it was because they had one less member to work with; they had pretty much the same makeup as Ghost, running two guitars (with founder Rosalie Cunningham handling the lead vocals), one bass, the drums, and a set of keys. Having even one less person to mix can make all the difference in terms of sound quality; I took my usual perch on the balcony towards the center of the venue*, and their take on 70’s style psychedelic progressive rock sounded pristine. It was like I was watching them play in their practice space. The only issue I had with their sound was with the somewhat soft backing vocals, and half the time, it just looked like the person who would be singing backing vocals just had their mouth up towards the mic while playing his instrument, which brings me to my next point:
While that kind of intimate feeling in a large venue can be a good thing, the drawback here is that Purson lacked any semblance of stage presence, spending less than a minute talking to the audience over the length of their set. The band didn’t move around on stage and, with a few exceptions, showed little visible energy. The lighting was consistently dark and brooding, and their song selection was also puzzling; their last song, even with a brief uptempo section, was easily their slowest of the night. All of that adds to listener fatigue, at least from my perspective.
Two audience members who were more familiar with Purson than I was told me that they heard the band’s full studio releases and felt indifferently about them, but said they sounded significantly better live than on tape. After taking another whack at their music, I can’t help but agree. Their latest EP, In The Meantime, is solid, but the sound on stage is vastly superior. Even so, I’ll be looking forward to their next release, Desire’s Magic Theatre, when it drops in the near future.
They could also stand to lower t-shirt prices. I have a hard time paying $35 for a t-shirt for any reason, but that goes double for a band that I’m not especially blown away by. They’re good, but not “$35 for a t-shirt” good.
All that said, Ghost picked an ideal touring mate for their jaunt around North America, as Purson is a great complementary counterpart to Ghost.
Set length: 110 minutes
Ghost has the art of stage presence down to a science. With Papa Emeritus leading the five Nameless Ghouls, the band’s performance took on a life of its own. Even before the set started, anyone who was, for whatever reason, unfamiliar with Ghost quickly got their answer as to what they got themselves into; with a large satanic alternate cover art banner in full display and church choir music blasting on the speakers, everyone knew they were in for a night of occult counter-culture shenanigans. And for those still confused, the crowd was chanting “Satan! Satan! Satan” shortly before they started.
Once the band took the stage and roared into the spooky “Spirit,” it was all smiles from the audience, and rightfully so. And while I greatly enjoyed their set, I had a few nitpicks with it. The obvious first complaint is that the band was a little bit too loud across the board. One of my favorite features of Ghost’s studio albums is the subtle mix of the drums, but that is nixed here in favor of a straightforward drum blasting. This was especially noticeable on “Con Clavi Con Dio,” arguably my favorite Ghost song.
Papa Emeritus III, meanwhile, was somewhat flat on his lower notes on occasion. And while all of the new tracks they played (the only one that wasn’t played was “Deus In Absentia”) sounded great, I was shocked at the largely ignored Kansas-esque keyboard riff in “Absolution,” and further puzzled by the use of a keytar on “Mummy Dust” instead of the former.
There was also the small issue of Papa Emeritus taking off his anti-papal cloak during “Cirice” midway through the show and leaving it off for the rest of the show. I’m not sure if that’s normal, as this was my first time seeing Ghost live, but it was baffling to see him perform without that garb. But that doesn’t take away from how great of a live song “Cirice” is.
Minor shortcomings and/or question marks aside, this was a pretty special show; most notable was the debut acoustic performance of “Jigolo Har Migiddo,” adeptly showing off the skills of the Nameless Ghouls. Papa Emeritus III also gave several small percussion instruments to fans for them to play during this song.
Watching “Year Zero” was a spectacle in and of itself, and I was thoroughly pleased with “Ghuleh/Zombie Queen,” a song that I was already highly fond of and is currently stuck in my head. “Ritual,” “He Is,” “Stand By Him,” “Per Aspera Ad Inferi,” and “Mummy Dust” also stood out among their best songs as tracks that translate extremely well into a live setting.
Closing out the show with “Monstrance Clock” was simply masterful; it seems like an odd choice until you realize that there are few things better in a concert setting than having a huge crowd singing along with a backing track choir as the band exits the stage: “Come together; together as one. Come together, for Lucifer’s son.” Fucking genius.
Above all else, Ghost is right up there with Devin Townsend in terms of personally engaging with fans during the set. I counted at least ten instances where Papa Emeritus singled out a specific fan who said something to him, and there were nothing but smiles coming from those fans. It was a high-energy set that should be considered a must-see for any metal fan.
*If you go to the Newport and are looking for the best possible sound quality, stand as close to the sound booth as possible, located behind the main concert floor and next to the bar.