Ghost’s Skeletor World Tour

On Ghost’s Skeletor World Tour, the cameras turn to face the audience during the final number, just as the infectious snare drums of mega-hit Square Hammer echo through the arena. The IMAG screens fill with smiles, cheers, and the kind of unfiltered joy that only comes from being fully present. With Ghost’s new phone-free policy, fans aren’t watching through their screens—they’re part of the moment. It’s a brief glimpse, but it captures the point of months of planning: to make the experience unforgettable, no matter which side of the Atlantic you’re on.

Ghost’s production is theatrical and dense: nine musicians, countless costumes, heavy rigging, expansive lighting and video. Production Manager Steven Page does most of the building long before the first load-in: advancing the show, booking suppliers and vehicles, stitching together a crew that can scale. Once the tour rolls, the job shifts to looking after people and solving problems in real time.

“Most of my work is done before I leave for tour,” Page explains. “I do the show advances, source the suppliers and crew, and make sure the choreography of the tour itself is in place.”

This cycle is faster and cleaner when it only takes one conversation to make a change. In past cycles, Ghost split vendors between Europe and the U.S., inviting all the integration friction that implies—different gear pools, different lines of support, different thresholds in venues. For this run, PRG’s global network streamlined the chain of custody.

“With PRG, it’s been one conversation with one person, and that translates to Europe, America, the UK, and South America. It just makes it simpler,” he says.

Ghost’s production was overseen by Production Manager Steven Page, with PRG Account Executive Anthony Ciampa leading the account and budget alongside Touring Director Taylor Bingley with The Rick Sales Entertainment Group. On-the-ground support was provided by PRG Project Managers Luke Lewis (North America/UK) and Steve Major (UK). Together, they ensured consistency and delivery across continents.

Matching the Creative Vision

Consistency didn’t mean copy-paste logistics. Show Stage and Lighting Designer Tobias Rylander envisioned a bold ’80s throwback, anchored by VL800 Vari-Lite fixtures delivering a modern take on classic PAR-can looks. At the onset of the tour, these fixtures weren’t yet part of PRG’s inventory, so the team worked internally to procure, ship, and integrate them on deadline—ensuring the design intent was preserved without compromise.

That ambition came with serious weight. The show’s rig tipped the scales at roughly 136,000 pounds, forcing the European leg to adapt with careful overlays, height trims, and in some venues, downsized video walls to keep the vision intact within physical limits.

What emerged was a spectacle: more than 800 moving lights forming an automated version of the band’s iconic logo, the Grucifix, paired with 400 LED tiles glowing like stained-glass windows. The effect transformed arenas into a shadowy cathedral of light and sound—equal parts gothic mass and full-throttle rock opera.

Logistics on Two Continents

Moving the package itself was a study in orchestration. Working with Rocket Cargo, PRG shipped three ocean containers of lighting and video equipment from Nashville to PRG UK, where it was reassembled and paired with local inventory to create a mirror system for the European leg. Once that run wrapped, the entire package was shipped back the same way to kick off the North American dates.

This wasn’t just a matter of sending gear across the pond; it was a carefully engineered strategy. By choosing sea freight over air, the team accepted longer transit times in exchange for predictability, cost control and fewer last-minute variables. That consistency meant the same show could be built and delivered without compromise, regardless of geography.

“Because PRG has a global footprint, we could deliver the same product on both sides,” explained Lewis. “It reduced the need to fly in replacements and gave everyone confidence that the experience would match from Europe to the U.S.”

People Behind the System

Page hit a labor shortfall early in UK rehearsals. Within 24 hours, PRG had additional crew on deck, with Lighting Crew Chief Tom Bider slotting everyone into position and closing the gap. “A few phone calls to PRG and the next day we had four more guys on site. The issues we had with being short on labor were solved within three or four days,” says Page.

Across time zones, Luke Lewis in North America worked shoulder-to-shoulder with Steve Major and Video Project Manager Tom Prew in the UK, plus Technical Director Matt Geasey of Clear Visuals, to keep the creative intact and the numbers honest. Geasey’s CAD drawings were critical in adapting the design to different venue restrictions, ensuring the show could be safely and consistently mounted at each stop. TAIT handled the automation, including the Grucifix, requiring careful coordination between vendors so the set, video, and lighting all aligned seamlessly on site.

“With so many moving parts, the most critical factor was project management led by Luke Lewis on a global scale,” Ciampa notes. “Luke was the glue that held all of these efforts together while also working in the trenches onsite during rehearsals and the opening shows.”

Video Crew Chief Mason Braislin led the video crew to hold their department together across freight transfers and rebuilds in each region. “The challenges were time zones and travel. But we improvised, adapted, and overcame—producing what I think was an incredible tour for the client,” Lewis explains.

“That strong foundation also let me stay focused on higher-level budgetary discussions with Taylor,” Ciampa adds. “Any budget-related challenges were met with teamwork and flexibility, thanks to Taylor’s collaborative approach.”

If there’s a mantra that threads through the tour, it’s that you’re only as good as your prep. Hands-on time with the rig before the first truck door opens is what lets a show of this scale land cleanly at load-in, meet the schedule, and deliver at soundcheck.

The Payoff

When the cameras swing and the crowd fills the screens, the technology disappears into the moment. Fans aren’t thinking about fixtures, freight routes or truck packs—they’re caught in the roar of the music and the theatrics unfolding in front of them.

“The best part is seeing the smiles, the cheers, and knowing the fans had a great time. That’s when we’ve done our job,” says Lewis.

For Page, Lewis, and the entire Ghost x PRG team, that’s the true measure of success: delivering the same show on two continents, with the same power and precision, and sending thousands of fans home each night feeling like they’ve witnessed something unrepeatable.

PRG Crew List

VIDEO

Video Crew Chief: Mason Braislin
Lead LED: Noel Galan
LED Technician: Donovan Delabruere
LED Technician: Nolan Rudi
Engineer: Alfredo Herz Rojas
Camera Utility: Wheny Medeiros De Lima
Media Server Operator: Michael Bucchino
Director: John McLeish

LIGHTING

Lighting Crew Chief: Thomas "Tom" Bider
FOH Technician: Ryan Dunn
Lighting Climber: James Higgins
Lighting Technician: Ken Sheahan
Zac Tracks Programmer/Tech: Dominic McClory
Lighting Technician: Michael "Cole" Mehmert
SR Dimmer Tech: Thomas "Tom" Bennett
Lighting Technician: Michael Tautfest
Lighting Technician: Lawrence "Larry" Colon
SL Dimmer Tech: Doug Eder
Lighting Technician: William Kennon
Lighting Technician: Lindsey Norman