*Warning: This article contains spoilers about the movie “Rite Here, Rite Now” and GHOST lore.
June was a big month for fans of the Swedish metal icons, GHOST, with the release of the band’s first-ever concert film that hit theaters on June 20, 2024.
Thanks to TAYLOR SWIFT, live concert films are having their moment, but they’ve been around for quite some time (let’s not forget cinematic masterpieces like the incredible “Cheetah Girls” series). Live metal concerts have been around since the 1990s, and as technology has advanced, so has the storytelling. When it comes to engaging, well-produced and memorable performances, metal carries the genre, and GHOST’s “Rite Here, Rite Now” film lands at the top of the list with fellow icons SLIPKNOT and RAMMSTEIN.
The story of “Rite Here, Rite Now” takes place during September of last year at the Kia Forum in Inglewood, CA, on one (but filmed on both) of the final nights of GHOST’s “Re-Imperatour” North American run. The film starts with a message from MR. PSALTARIAN letting fans know that they can have their phones out for the next few minutes to take photos and videos of them at the screening to then share on GHOST’s social media platforms. As the timer ticked closer to zero, fans in the nearly sold-out theaters excitedly made their posts and (surprisingly) put their phones away so the story could really begin.
When the timer reached zero, the audience found themselves in space, listening to MR. PSALTARIAN tell a story about existential crises and the fear, attempted avoidance, and ultimate acceptance of death as a natural part of life. As the audience breaks the ozone layer and gets closer and closer to the Kia Forum, MR. PSALTARIAN ties it all back to GHOST, revealing that PAPA EMERITUS IV is struggling with the same concepts, especially as the end of the tour grows closer.
PAPA IV and THE NAMELESS GHOULS hit the stage with three high-energy bangers: “Imperium,” “Kaisarion” and “Rats.” After a few songs, PAPA IV heads backstage, and surprisingly takes the audience with him. These “backstage” scenes (in quotes because they were obviously filmed post-tour) would end up offering more than comedic glances at PAPA IV’s costume changes and off-stage behavior; they would become vignettes of a deeper story between PAPA IV, his mother, SISTER IMPERATOR, and his deceased father, PAPA NIHIL.
As far as the actual concert and performance goes, this is a must-see and must-have for any GHOST fan. It was fun to watch everyone so up close (although the switch to mask from face paint for PAPA IV did NOT pay off for this) as it gave the audience an opportunity to see things they easily would have missed during the typical chaos of a GHOST show, like THE NAMELESS GHOULS playing their guitars between their legs and upside down, or PAPA IV fondling (yes…) the microphone.
The video and sound editing is incredible as well. The surround sound was crisp, consistent and utilized in a way that transported the audience from popcorn-filled movie theaters to the packed Kia Form. It also actually somehow noise-canceled people singing ,so you could rock out and not bother everyone else. Although, let’s be honest, everyone was rocking out and singing along.
The cuts between different clips from the performances were done so well and were captivating as they perfectly lined up with hard beats in each song and featured a ton of great audience shots of people belting their hearts out to PAPA IV in their skull makeup and clergy robes. It was chills-inducing, to say the least, and it really took the film to the next level. Honestly, nothing short of the magic fans have come to expect from the band.
Here’s where the lore spoilers really come in, so buckle up or head out until the rumors potentially come true and you can stream the film later this summer.
As the show goes on, so do the lore-packed vignettes. The audience quickly finds out that the tension in the room is between PAPA IV and PAPA NIHIL, regarding the idea of if it’s time for PAPA IV to step down and let someone else take over the clergy. As MR. PSALTARIAN shared earlier, PAPA IV is not keen on the idea of his time being up, both in the sense of being alive and leading the clergy. PAPA NIHIL, however, disagrees, and spends the night trying to get PAPA IV to listen and understand his responsibilities.
The two ultimately get heated and PAPA IV tries to insult PAPA NIHIL by saying he only had two great songs in his career and that means nothing compared to PAPA IV’s two full albums of bangers under his name. PAPA NIHIL then (subtly and cockily) shares that he actually had a third hit floating around out there, leaving fans mind-blown. PAPA IV doesn’t seem to care, or believe him, but that’s nothing new.
As the two continue disagreeing during the following vignettes, PAPA NIHIL tries to convince PAPA IV to do the “crucifix pose” after the last song to let the audience know he is done as PAPA IV; he has given all he can give, this is his last performance and someone new will take over. As the end of the night comes closer and closer with each song, a shift starts to happen, and it seems like PAPA IV is starting to accept his fate. He, in fact, seals said fate at the end of the encore, when he appeases PAPA NIHIL and SISTER IMPERATOR by doing the pose.
After the last song, “Square Hammer,” (fun fact: “right here, right now” is in the lyrics to that song) PAPA IV heads backstage and climbs into a hot air balloon, ready to head into the night. He lights the balloon up and begins floating out of the Kia Forum, over Inglewood, California, the United States, and eventually the world, as he continues floating into space, perfectly fine and normally.
Knowing that that required a little bit more suspension of belief than most fans are willing to give, it’s revealed that the entire hot air balloon segment was a hallucination as PAPA IV is ripped awake to the sound and scene of paramedics trying to revive SISTER IMPERATOR, to no avail. As PAPA IV approaches her covered body in the middle of the Mummy Dust-covered pit, he begins reading a letter from her, telling him she’s sorry she didn’t tell him she was so sick and close to death, but now that she’s passed, the clergy is in his hands and he must step up into his new role...FRATER IMPERATOR. Roll credits.
The film actually ends with a post-credits scene (of course) featuring the ghosts of PAPA NIHIL, SISTER IMPERATOR, and THE TWINS alongside PAPA IV in a new outfit. The group discusses their excitement and worries about “the new guy” before they are hushed by the presence of a silhouette on the other side of the door, who turns out to be FRATER IMPERATOR, the first of his kind.
With that absolutely insane lore drop in about two and a half hours, GHOST fans are eager to see what’s in store for the band’s next era, and what the clergy’s first Frater will bring to the table. For now, all that can be done is speculating and waiting, so in SISTER IMPERATOR’s words, “See you on the other side.”
Imperium
Kaisarion
Rats
Faith
Spillways
Cirice
Absolution
Call Me Little Sunshine
Watcher In The Sky
If You Have Ghosts
Twenties
Miasma
Mary On A Cross (With animated music video)
Respite On The Spitalfields
Encore
Kiss The Go-Goat
Dance Macabre
Square Hammer
The Future Is A Foreign Land (End credits song)
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