"Welcome To The Fold" -- Filter @ Mercury Lounge 5/13/08

Although the focus of this blog tends to be reviews of up and coming music, there are times when I find it necessary to take a stroll down memory lane. I really can't stand it when people dismiss and outgrow the bands that really got them excited about music in the first place. Taking this into account, when I found out that Filter was booked to play an intimate album release show at Mercury Lounge (last night), I was first in line to buy my ticket. And even though lead singer Richard Patrick is the only current mainstay from their glory years, he IS Filter inasmuch as Trent Reznor IS Nine Inch Nails.

Despite the rather long lapse in time since the band's previous effort (2002's The Almagamut), the loyal crowd, composed mostly of twentysomething headbanging "bro rock" enthusiasts, remained unbothered by this fact. And let's face it, barring an unexpected Buckcherry-like comeback, Filter is a rock band that is past its prime. But you know what, they seemed pretty okay with this. I was impressed by Patrick's stage demeanor, as he appeared legitimately happy to be back on the show circuit. It was evident he was especially thrilled to be playing his band's record release party at an unexpectedly intimate venue in what he called "the greatest city in the world."

The set began with with late 90's crowd favorite "Welcome To The Fold" and segued into the equally incendiary "American Cliché." Before long, Patrick was throwing water on the crowd like it was 1999 (for which he later apologized), and the fistpumping faithful were responding devil horn hand gestures. Never light on the crowd banter, we were enthusiastically reminded several times that "Filter is back!" The band continued to blaze through their string of nineties soundtrack semi-hits including The Crow's "Jurrasitol" and the Crystal Method collaboration "(Can't You) Trip Like I Do" (from 1997's Spawn). Patrick went on to share his negative war sentiments with the crowd and explained how the band's new record (aptly titled Anthems For The Damned) was inspired by our current state of the world. It went without saying what their first single, "Soldiers of Misfortune" was all about. The highlight of the night came when Patrick introduced an obscure song of off 1999's Title of Record, called "Skinny", in which he admitted was rarely ever played in the past because he was "too much of a raging alcoholic" to ever hit the high notes. On this night, however, he nailed them flawlessly. The band's performance was forcibly shortened due to a different late show at venue, but they boys didn't conclude before playing their commercially successful crossover hit "Take A Picture" and launching into a mosh-pit inducing encore rendition of "Hey Man Nice Shot."

I'll admit that I have always had a soft spot for mid-90's alt-rock, so I am well aware that my opinion of such music may very well be skewed. But I do know that you can't knock a band that leaves 100% of their energy and enthusiasm on the stage. Mix this in with a slew of radio hits, some great new material, and an arena-sized show packed into a 200 person venue, and you got yourself pretty damn good show despite the ever looming nostalgia.