TORONTO -- There they were at the Air Canada Centre last night: Creed fans. 14,000 of them. Of course, they occur all over. The Florida band have sold millions of albums. Their music runs round-the-clock on middle-of-the-road radio stations across the continent. But before this gathering I had yet to meet anyone with a kind word to say about Creed -- at least not openly -- which wouldn't warrant mention if this group of pomp-rockers weren't also so monstrously popular. (Despite their popularity they did not permit photographers at the show.) Don't get me wrong. The Creed crowd seemed nice. Considering how the band have polarized the public, though, it rang odd when, while introducing his song One in the middle of last night's 100-minute performance, Creed frontman Scott Stapp was moved to point out that, despite all the world's tribulations, "Everybody is one." Stapp is most certainly a spiritual guy and Creed's lyrics contain oblique Christian content. Perhaps he was talking about something greater than rock. Because where I was sitting, I was alone, unless the fine folks around me also happened to find Creed monotonous, self-important, posturing, formulaic, and wooden. And I don't think they did -- although, but for a scarce number, they weren't exactly leaping out of their seats as the group opened with Bullets. In fact, Creed had to work hard to get a rise out of them beyond surefire hits My Own Prison, from their 1997 debut album of the same name, and Arms Wide Open from 1999's Human Clay. True, the band had a full-on sing-along going by the encore -- anthems Higher and My Sacrifice -- but that's why they save those things for last. Stapp and co. must derive heaps of pleasure from their commercial triumph in the face of such scorn from the media and fellow bands. (Though they do bruise: An evil-doing critic was reportedly barred from their Cleveland gig.) Indeed, common accusations of Pearl Jam thievery are largely out-of-line. Creed owe a bigger debt to Stone Temple Pilots, and Stapp has taken that post-grunge yowling he does to unmistakable extremes, creating a trademark vocal style by adding lots of big round Rs where the vowels should be. (ie., "Court is in session, the verdict is in" becomes "Crrrt is in srrrssion, the vrrrrdict is irrrn.") At least he band offered some eye candy in the form of extensive pyro and film footage, and a Roman temple backdrop that went nicely with Stapp's Heston-worthy performance. And all in all maybe he was right and we are one. Then we can just agree to disagree, right? (More on Creed)