Ghost return to T-Mobile for a stadium-ready, family-friendly(ish) nightmare

August 7, 2025

Eli Ralls, Andrew Dodderidge,

Ghost. // photo by Eli Ralls

Ghost
T-Mobile Center
Tuesday, August 5

Upon trekking down the lower level section to my seat for Ghost’s ninth trip to Kansas City in just 11 years – first since early 2022 – I became well aware of what I was getting in for. Tons of rabid fans interspersed about, a number of them with face paint on. Pre-show chants from the packed section on the floor. A giant curtain surrounds the stage for full-on theatrical effect, playing nicely on the group’s anonymous persona (the eight members aside from vocalist Tobias Forge all go by the name of “A Group of Nameless Ghouls”).

Probably around 10 minutes until 8 p.m. (but generally, I had no idea because I could not access my cellular device), a large number of seats were empty across the way. The upper deck section was closed off, aside from straight away. A backing track of orchestral music was playing, signifying that the beginning was near. And early on, the no-phone situation was very freeing, making me hyper aware of all of these more background details, jotting them down joyously in my notebook.

The arena went pitch black, with everybody rising from their seats, and we were off. No opener, straight to the methodically exercised goodness from the modern hard rock giants. The curtain still standing, Forge appeared on two video boards above the stage, singing the opening lines of “Peacefield,” the first track off new record Skeleta.

All nine members of the clergy were dressed in black, costumed up head-to-toe. Per usual, Forge ran back and forth from the stage to behind the stage for his many, many costume changes. Second cut “Lachryma,” which they just played on Jimmy Fallon a few weeks back, found Forge stripped down to that exact same appearance.

Even with two gunning out of the gate from their recently released LP, the 10-year-old Meliora owned the night. Their second venture on Loma Vista found them expertly performing a 1970s-inspired occult style of rock, bringing an array of influences to the table and expanding on their highly theatrical style. There are more prevalent traces of classic progressive rock and traditional pop than in their first two outings, and a style that they haven’t quite managed to match since.

“Spirit,” “Majesty,” and “Devil Church” followed during the next six cuts, with Forge traversing both sides of the stage to outstretched platforms and various double guitar solos going down in the middle from the Ghouls. Another costume switch happened around “Majesty,” which landed Forge behind the drum set with a long, giant coat and a crown. Another switch happened just before “Cirice,” which transitioned the background visuals to an old cathedral.

Everything about the two-hour stunt went according to plan, or so it seemed, and Forge, although becoming raspy and cranky during short stints, has a presence like no other.

The back half featured cuts like “Year Zero,” with one guitarist shredding on his back, bursts of fire spraying out from the stage and fireworks concluding the sprint, the pastoral and approachable “He Is” from Meliora, and B-side release “Kiss the Go-Goat,” which was paired with a trippy background movie that leaned directly into the absurdity in a near perfect manner.

Meliora follow-up Prequelle also found some traction, with “Rats” contributing to the guitar solo fest, as three ghouls met at the center of the stage during its finale, followed by popping fireworks. Forge then took to the mic to express how hot the arena was, along with this damning comment.

“I know I said fuck. People are nice, and they can take a fuck or two.”

Even with some treading into adult territory, the performance was kind of a family atmosphere, and the theatrics remind me of old, pre-2000s classic rock icons, such as KISS. Confetti burst across the venue after “Mummy Dust,” clogging the stage and allowing Forge to provide another sense of levity, bring across his sense of humor, and call out security director Richie Surrency.

The three-track encore, which included another Prequelle cut, “Dance Macabre,” prominently strayed from that family aesthetic with a backdrop of naked people (they were puny) dancing along to the group’s greatest hits.

This group is weird. This group makes hits. This group sells out arenas.

All photos by Eli Ralls

Ghost

Ghost setlist
Peacefield
Lachryma
Spirit
Per Aspera ad Inferi
Faith
Majesty
The Future Is a Foreign Land
Devil Church
Cirice
Darkness at the Heart of My Love
Satanized
Stand by Him
Umbra
Year Zero
He Is
Rats
Kiss the Go-Goat
Mummy Dust
Monstrance Clock
—
Mary on a Cross
Dance Macabre
Square Hammer