Ghost
January 31, 2026
Scotiabank Arena, Toronto, ON
In Toronto, the Scotiabank Arena was transformed into a site of liturgical theater as Ghost brought their Skeletour World Tour to a capacity crowd. Led by the latest incarnation of the clergy, Papa V Perpetua, the band delivered a 90-minute “ritual” that felt less like a standard arena concert and more like a carefully choreographed piece of occult performance art.
The audience stared at the tattered curtain with anticipation. As the opening notes of “Peacefield” rang out, the veil dropped to reveal the nameless ghouls and ghoulettes stationed across the stage. When Papa V Perpetua finally emerged, the transition from anticipation to “worship” was instantaneous. The momentum continued into “Lachryma,” a track heavily influenced by ’80s synth-pop aesthetics, before the band launched into “Spirit.” During this segment, the musicians utilized the full expanse of the stage, but the most striking visual was not the costumes; it was the lack of illuminated screens. With phones tucked away, the audience remained entirely present, focused on the exchange between the stage and the floor.
The setlist functioned as a career-spanning survey, balancing the doom-laden riffs of “From the Pinnacle to the Pit” and “Per Aspera Ad Inferi” with the polished arena-rock of “Call Me Little Sunshine,” all executed with a precision that matched their studio counterparts.
The production value shifted significantly mid-set. Following the organ-led “Devil Church,” Papa reappeared in full ceremonial robe and mitre for “Cirice,” a moment that grounded the show back in the band’s darker, ecclesiastical roots. The visual backdrop evolved throughout the night; during “Darkness at the Heart of My Love,” intricate stained-glass art was framed by massive church arches. Later, during “Umbra” and “Year Zero,” these same windows appeared to shatter, replaced by corporate religious imagery, a subtle nod to the band’s ongoing lore regarding the commodification of faith.
The physical environment of the stage eventually reflected this narrative. As “He Is” transitioned into “Rats,” the altar and church structures “crumbled” to reveal a stark hellscape. The tone shifted from the profane to the playful during “Kiss the Go-Goat,” preceded by Papa’s customary interaction with the front rows, showering them with kisses, followed by the high-energy “Mummy Dust.” The latter featured the tour’s signature confetti blast, showering the pit in “Papa” 100-dollar bills.
Before the finale, Papa delivered a brief sermon on the intrinsic value of live music and the rare communal experience of being “in the moment.” After a feigned conclusion with the Infestissumam-era anthem “Monstrance Clock,” the band returned for an encore that leaned into their most accessible hits: “Mary on a Cross,” “Dance Macabre,” and “Square Hammer” to close the night.
Ghost has refined the arena experience into something that feels both massive and strangely intimate. By stripping away the distraction of technology and leaning into high-concept visuals, the Skeletour provides a rare opportunity for collective immersion. With 12 stops remaining on the tour, the “ritual” remains an experience that’s not to be missed.