Filter + Black Smoke Trigger
Metro Theatre, Sydney
Saturday, 6th of April.
American industrial and hard rock act, Filter, is essentially frontman Richard Patrick’s project nowadays, stemming from the band he formed after moving on from a touring guitarist role for Nine Inch Nails many years ago. Since then, he has been able to craft a varied discography that goes into different musical territories. Back in Australia for a tour covering a good portion of major cities in the country, Patrick and band were in fine form on their return jaunt, finally headlining again, and on the back of their recent release, The Algorithm.
To support them, hard rock New Zealand based band, Black Smoke Trigger, who will soon be supporting Bruce Dickinson, kicked things off with a suitable level of swagger. Songs “The Way I’m Wired”, “You Can Have It All” and “Proof of Life” were all performed with well-rehearsed power, holding up well with great stage presence from front man Josh ‘Baldrick’ Rasmussen, but it was “Blindfolds & Rattlesnakes” that saw them really hit their stride. Les Paul sporting guitarist Charlie Wallace held his guitar on a vertical angle as he peeled off Slash style solos full of wide vibrato and fast, scalar runs. The rhythm section of chilled bassist Dan Fulton and hard-hitting drummer Josh Te Maro were tight, giving the next track, ballad “Perfect Torture” a slow building set of rhythm figures.
The octave guitar lines of “The Way Down” had plenty of floor toms, and rock guitar poses. It was followed by another support set highlight with “Caught in the Undertow”, which ticked all the boxes for hard rock prerequisites. Plenty of fast guitar solos of the Zakk Wylde variety ensued, with the band convening around the drum kit before returning to their positions, adding backing vocals where needed. Closing their set, “KMTL” had an early Shihad rhythmic feel to it, and even where abrasive, still has a searing chorus, higher register vocals, and a stack of melodic aspects. Nice work.
As the PA pumped out a selection of progressive rock classic tracks from King Crimson, Jeff Beck, Gentle Giant and Pink Floyd, the stage set was quickly set up, with a hard rock show looking stage set of amplifiers and a drum riser mounted kit, full of shiny cymbals. Soon enough, Filter walked out on to the darkly lit stage, with front man Richard Patrick the last to enter the stage, approaching his microphone with a hoodie and sunglasses, as the largely backlit stage set up a striking silhouette effect amongst a variety of photographer unfriendly lighting filter choices. Patrick shouted, “Hands up, you look fantastic tonight!” to a crowd largely unable to make out more than a shadow.
Musically, Filter had a fantastic live mix from the outset, enhanced with tracking and computer processing power throughout, but done so to not impose upon the live performance. The band, with new drummer Tosh Peterson, replacing Elias Mallin, and bassist Bobby Miller locked in impressively given the drummer’s early inclusion in the touring band, started Filter’s set with “You Walk Away” from The Amalgamut, as guitarist Jonathan Radtke’s bouncy rhythm figure worked well against lower riffs and droning octaves.
Hitting new album material early, “The Drowning” from The Algorithm delivered well amongst pulsing red lighting, accented with the pulsing rhythm figures. Bass heavy initially, the melodicism of the chorus changed the song’s feel, followed by stabbing vocals and guitar chord stabs in the second verse. “For the Beaten” also from the latest album, had plenty of delay guitar effects, with Patrick’s vocals resonating, as the audience clapped hands during the chorus.
“What Do You Say,” from The Sun Comes Out Tonight got the crowd moving, bolstered by call and response chorus skills, followed by another latest album track, “Face Down”. As the set progressed, Patrick and company became gradually more visible, and they all looked to be smiling as the layering dynamics of their live arrangements took effect. “(Can’t You) Trip Like I Do” was of course a hit with the audience, as Patrick yelled, “Let’s have some fun, motherfuckers!” The acerbic lyrics, squealing guitar lines and driving rhythm section parts, built into a double time section as the audience sang along, and Radtke added some wah pedal effects as the song neared conclusion.
The next two tracks of “Obliteration” and “The Take” from Anthems for the Damned, with the latter’s punk urgency, saw the band in full flight, delivering a borderline thrash metal onslaught full of pounding drums and choppy, percussive rhythm guitar parts. Bass was prominent in “Jurassitol” as guitar lines juggled with intentional feedback howls, with a long vocal note from Patrick.
Another gig highlight, and a change in pace for the set, was the hit “Take a Picture” from Title of Record which Patrick described as being a “song about making huge mistakes in life and somehow turning it into something better.” the track itself, with Radtke on a red Stratocaster, had a distinct U2 feel, including enhanced delay effects and strummed chords. As the track’s intensity increased, the audience sang along, and Radtke unleashed some soling with wah pedal effects. On completion, Patrick, elated, said, “Well, I just sang the shit out of that song.”
“Surprise” continued with more poppier, guitar jangle aspects of Filter but soon cemented back into heavier territory, as another track from Title of Record was aired with the powerful “Captain Bligh” with alternating rhythmic pace changes throughout, and a quieter breakdown section. Asking if the audience was tired, it was time for the belting track “Thoughts and Prayers” which swirled with snarling, lyrical rage and intense, bass heavy music.
The first track to come from their classic debut release, Short Bus was heard with “Dose”, as Patrick donned a Telecaster guitar. The slow brooding track was immersed in down tuned riffs, harmonic feedback, and plentiful drum work, blasting on snare and cymbals. More howling guitar lines were coaxed during Title of Record’s “It’s Gonna Kill Me”, which was effectively a chorus on repeat.
“American Cliché” from The Amalgamut saw Patrick stop the song after several seconds to chastise the audience for not being enthusiastic enough. The song title was apt, as he stated, “It’s the first time we’ve been here in seven fucking years, I want to have a fucking good time; crowd surfing, light moshing, no one gets hurt moshing.” After that, the energy resumed with rumbling bass, walking guitar riffs, and solid, heavy drum hits.
Continuing with Patrick announcing most song titles, and the album it is from at the song’s commencement, we were treated to the energetic punk vibe of “So I Quit” from The Amalgamut that ended in ferocious yelling vocals. It was swiftly followed by “Drug Boy” from The Trouble with Angels, as Patrick cheekily introduced the song, saying the from the age of 15 years old, he did a “shit tonne of drugs for 21 years, and not all of it was fucking bad.” Cleary sober for many years, it was partially in jest, with the song accented by many snare hits and a barked chorus.
Patrick then stating, “We don’t do encores. We’ve got two final songs to play for you this evening. They are both the first songs on their particular records,” it was commenced with “Welcome to the Fold” from Title of Record, as Radtke’s wah pedal effected soloing segued into the sing-along chorus, the audience were enthused by the song, chanting back, “A-okay” at the band.
Concluding the set, and thanking the audience for ongoing support, Patrick announced “Hey Man Nice Shot” from Short Bus, as Miller’s bass line set the pace for the superb track, that ebbs and flows with energy, against haunting, half spoken vocals that meld into screaming chorus vocals, bolstered by the audience, and charging at pace via a simple but effective, descending down tuned guitar riff.
Filter delivered a cracking set and even with all the public transport issues of the evening, the audience were smiling from ear to ear as they piled out of the venue. Hopefully we won’t have to wait so long for their next tour. Richard Patrick’s driving talent is clearly intact, with plenty of world issues to keep his creativity and industrial brand of music firing on all cylinders for many years yet.
Set List
You Walk Away
The Drowning
For the Beaten
What Do You Say
Face Down
(Can’t You) Trip Like I Do
Obliteration
The Take
Jurassitol
Take a Picture
Surprise
Captain Bligh
Thoughts and Prayers
Dose
It’s Gonna Kill Me
American Cliché
So I Quit
Drug Boy
Welcome to the Fold
Hey Man Nice Shot.