During a July 4 question-and-answer session with fans at Birmingham, United Kingdom’s HMV Vault, GHOST mastermind Tobias Forge addressed the band’s announcement that GHOST‘s 2025 world tour would be “a phone-free experience”, with guests maintaining possession of their phones at all times, secured in Yondr pouches. Asked if he got any “pushback” from his camp about enforcing this so-called “phone ban”, he said (as transcribed by BLABBERMOUTH.NET): “Oh, pushback. I think that the first initial pushback, it wasn’t necessarily muscular pushback, but it was an inquiry to maybe reconsider. But that was more from — you know, the first person that you’d speak to when you’re an artist is obviously your manager and your agent. And ‘I have this idea.’ It’s, like , ‘Mm-hmm. You sure about that?’ And then the agent comes and, like, ‘Oh, I love the idea, but…’ Because it also adds a lot of baggage to the administration part and the practical bit of the concert, and anything that makes things harder is always frowned upon. And, of course, we had to really vet that idea. What does it mean? Who has done this before? Oh, not many. Okay. But who does that?
“The thing is that there are a lot of artists [who phone shame the audience], and I know a lot of artists — a lot more than let people know — absolutely hate the phones,” Forge continued. “But it’s one thing to phone shame people and [it’s] another to go through the hurdle of doing what we did. And, of course, we had to weigh that. Essentially, what people wanna know [is] what does it cost? What’s the ramifications of it, time-wise and economically? ‘Okay, that’s about right.'”
Elaborating on the mindset that led him to suggest the “phone ban” in the first place, Forge said: “I am vehemently against what I experienced, culminating on the last bit of our last tour cycle, where — and just for complete transparency, we went obviously to all kinds of different countries where temperament differs. So, with or without phones, there are certain parts of the world where people are just generally slightly subdued. But there are other parts of the world where people are exactly opposite and very engaged. And it really hit me when we came to certain countries where they have generally been much more enthusiastic, and you come out — there’s, like, 18,000 people there, and there’s, like, 10,000 phones. And they’re not even bouncing anymore. And you’re just like, ‘What is this? What has happened?'”
After one fan suggested that it is a form of “disrespect”, Tobias replied: “I don’t know if it’s disrespect… This is the thing that most people, most individuals haven’t thought about how it is, because you think that, ‘Well, no one cares about what I’m doing. I’m standing here in the back. I’m just gonna take a photo. I’m gonna film a song.’ So each individual is not doing a purposefully disrespectful diss, but the sum of it becomes a completely changed, especially for an artist who you come out on a stage and you’re expecting, like, ‘Fucking people are gonna rage,’ and then all of a sudden it’s, like, the crowd that you’ve seen for, at that point, through 13 years has just gone less and less and less engaged in exchange for these phones. What’s that about? What the fuck? And so I just felt that I came to a point where I’m, like, ‘I don’t think I wanna do this. I don’t think I wanna do this. If this is how it’s gonna be, I’d rather not do it.’ That that’s how worthless it became because of the phones. Especially a show like ours. I mean, I know that there are a lot of artists who [do] a completely more a free-form show, but we don’t. Our show is pretty sort of nailed and arranged. There’s obviously a certain wiggle room for individualism. But, yeah, in order to do what we do, we need to have a certain regimen. And so what do we feed off of? [The crowd]. And that is crucial. That is crucial for us to be able to do the show. If you came into a dress rehearsal and saw us do the same thing but without a crowd, it’s dramatically worse. But when you have an engaged crowd, it becomes better because you’re two… It is exactly like that. It’s an exchange. And if someone in the act of doing it just takes a phone out…?”
Asked by the moderator if the decision to ban phones on the 2025 tour has “paid off” for GHOST so far, Tobias said: “Oh, absolutely. [It’s been a] fucking life changer. Life changer for the existence of the band. Absolutely. We had a collective… Just walking off stage first night [of the tour] was just, like, this has completely changed the entire outlook of how this feels. So, yeah, now we’re doing that. And I think that there are a lot of bands that are looking at this and just, like, ‘Okay, so how do we do that too?'”
Earlier this month, GHOST kicked off the U.S. leg of the “Skeletour” world tour in support of the group’s sixth studio album, “Skeletá”, which came out in April. Marking a bold evolution in GHOST‘s live performances, the tour is the band’s most theatrical and cinematic production yet. Designed by Tobias Rylander and GHOST mastermind Tobias Forge, the tour embraces a grander and more ambitious scale than ever before.
The set design is a striking blend of gothic symbolism and brutalist architecture, melding the ornate drama of cathedrals with the stark lines of modernist concrete forms. Inspired by brutalist cathedrals across Europe, the stage transforms into a sanctum of dark majesty: part sacred temple and part rock coliseum.
At the core of the design is the “Grucifix” — GHOST‘s reimagined crucifix inspired by their iconic logo. Suspended above the band, this colossal structure functions as both a visual centerpiece and a dynamic lighting rig, casting an ethereal glow over the stage.
Rylander‘s design includes sculptural scenic facades on the lighting pods, echoing the textures and verticality of cathedral interiors, further reinforcing the ecclesiastical themes central to GHOST‘s identity.
The lighting leans into a retro-rock aesthetic, with visual nods to classical QUEEN and VAN HALEN. The tour also represents a milestone for the band as it’s the first time a full-scale video production led by Rylander and video director Amir Chamdin. With video content by Green Wall Designs, the creative direction transcends the physical stage, evolving into a fully immersive multimedia experience.
In keeping with the show’s theatricality, the stage itself has been engineered to perform as much as the artist. Multiple elevated performance platforms, mechanical lifts, and concealed entrances are strategically placed to accommodate dramatic reveals and character transitions. A living, breathing cathedral of performance, “Skeletour” redefines the GHOST live experience, where sacred architecture collides with the raw energy of rock and roll.
Renowned for his work across live music world tours, fashion, theatre and art installations, Rylander has collaborated with artists such as Beyoncé, THE 1975, Childish Gambino, Chappell Roan, The XX and FKA Twigs. “Skeletour” marks his first creative partnership with the Grammy Award-winning band, bringing a new dimension to GHOST‘s already-iconic stage presence.
The European leg of GHOST‘s 2025 world tour kicked off on April 15 in Manchester, United Kingdom and concluded on May 24 in Oslo, Norway. The North American leg of GHOST‘s 2025 tour launched on July 9 in Baltimore, Maryland and will wrap up on August 16 in Houston, Texas.
Through the use of technology like Yondr, fans are able to place their phones in a pouch that unlocks only after they leave the no-cell-phone zone. The pouch can also be unlocked at specific cell phone stations inside the venue.
Phones, Apple watches and other communication devices are placed in the pouch and sealed using a magnetized lock, which can be opened with an unlocking base.
This past May, “Skeletá” landed at position No. 1 on the Billboard 200 chart with 86,000 equivalent album units earned in the United States in the LP’s first week of release. According to Billboard, 89% of that figure (77,000) consisted of traditional album sales, with vinyl purchases accounting for over 44,000 copies. Notably, “Skeletá” was the first hard rock album to reach the No. 1 spot on the Billboard 200 since AC/DC‘s “Power Up” in 2020.
The music video for the LP’s first single, “Satanized”, introduced the new character who is fronting GHOST for its 2025 touring cycle: Papa V Perpetua.
Forge performed as a “new” Papa Emeritus on each of the band’s first three LPs, with each version of Papa replacing the one that came before it. Papa Emeritus III was retired in favor of Cardinal Copia before the release of 2018’s “Prequelle”. In March 2020, at final show of GHOST‘s “Prequelle” tour in Mexico City, Mexico, the band officially introduced Papa Emeritus IV, the character who fronted the act for its “Impera” (2022) album phase.
Photo credit: official GHOST tour photographer Ryan Chang (courtesy of Motif PR for Tobias Rylander)
