TORONTO - As U2 again dazzled fans at Rogers Centre Thursday night, shock rock guru Marilyn Manson held court at Toronto's Air Canada Centre supporting his new album The High End Of Low.

And if the album title is anything to go by, it appears that Manson might be facing more lows than highs down the road if his roughly 80-minute set is the best he can scrounge together.

With the venue perhaps one-quarter full (including those standing on the floor), Manson and his four-piece band started on the right footing with We're From America, a foot-stomping, glam-meets-garage rock number off the new record. Heck, even Manson seemed ready for war before the curtain dropped and giving what resembled a pep talk to some of his band mates.

Yet as the evening progressed, the rock show theatrics Manson made his name on seemed well tested and just a bit tired. Whether it was the Bible-looking book that burned in his hand, the endless dropping of microphones and nearly full beer bottles on stage or vocals that left something to be desired, Manson might not end up aging all that gracefully.

Following an early crowd favorite Disposable Teens, Manson opted for Pretty As A Swastika as four Nazi-inspired banners were unfurled behind him, each displaying a dollar sign. Perhaps it was this dollar idea which had Manson asking for a Canadian dollar bill prior to The Dope Show, resulting in some fans rudely but accurately educating Manson about changes to our fine currency.

Changing his hats but not costumes as he sometimes did on earlier tours, Manson changed gears with the quirky but inviting roots-y flavored Four Rusted Horses which had many clapping along as if some goth-inspired jamboree was about to begin. Unfortunately, the ensuing WOW had little to no "wow" factor.

As dry ice clouds routinely engulfed much of the stage, Manson continued to shriek and wail when not out on a tiny catwalk extended a few feet beyond the main stage. The perky garage feel of Little Horn closed with him down on his knees while he later tossed a microphone into the audience during Rock N' Roll N----- , causing a no-holds-barred search for the souvenir.

Hardly addressing the enthused crowd although occasionally taking a slight bow, Manson began the homestretch with Rock Is Dead as his band slowly but steadily appeared to be simply punching in the clock. A cover of The Eurhythmics' Sweet Dreams had its desired effect but still wasn't enough to make it memorable.

As his soundboard tech did his best to get the constantly dropped microphones in working order, the singer decided to strap on a guitar for Dried Up, Tied And Dead To The World. He hasn't dried up, and perhaps the shock meter was sky high early on in his career, but for now Manson looks like he can no longer find what he's looking for.