Astat

No different than the usual live version. Gang vocals for the repeated "invisible" refrain are on a track, and harmonies in the last chorus are on a track because Chester switches to the "ohh" part. Not a full vocal backing track.

The OML acapella intro honestly seems like a random one-off thing in conjunction with the Mercedes AMG promo thing being used as an intro video. I don't think it's a "regular" part of the set... Today was also the one-year anniversary of the Pulse nightclub shooting in Orlando, maybe it was a tribute thing?

I stand corrected on this - no Phoenix. There's definitely some hi-hat and/or tambourine in there though.

With HT relatively well-represented in the set and FTI being one of the best Meteora tracks, I'd surprisingly vote against APFMH in this situation.

Sharp Edges isn't just Chester/Brad. Percussion clearly audible in the second half of the song and there's a shot of Phoenix playing bass on the big screen in the video at one point. I feel like that extended guitar duet intro to Sharp Edges is a cover of something, I swear I've heard it before.

Yeah, I know I said the same thing about the reunion shows, which appear to actually be happening, but...I'll believe it when I see it. Sean has attempted to release a remastered version of that album about three different times over the years and has run into trouble with Warner every time.

This is quite possibly the dumbest forum comment I've ever seen in my 14 years in the Linkin Park community. Congratulations!

I also think that, for as much hype there is about this footage within the LP community, it just isn't worth anywhere near what he's asking for it. The problem is that he ended up having a pretty successful TV production career later on, so he's inflating the price purely because his name is on it. $3-5k range, sure, but $10k+ is just absurd. Plus the bevy of lawyers he'd inevitably sick on us if we actually tried to do anything with the footage after we bought it...hell, wasn't there some legal drama over MTV using some of his footage in that The Ride documentary?

With You/Runaway guitars are still in the rigs, presumably because there just happens to be plenty of space for them even though those songs aren't in the set at present. I want to say Brad's got space for 11 or 12 guitars in each rack but he's only using 5 during each show (he has backups for 3 of those 5, so that puts him at 8 guitars "needed" for the show).

Lol, why would Julien-K release Dead By Sunrise music on a compilation with Julien-K's name on it, particularly when the DBS catalog is still controlled by Warner and Julien-K's been an indie band for several years now? They couldn't do it if they wanted to. If people would just take a second and think about their expectations...

Or literally anything that he sings backups/harmonies on... And AFN and MTG have no keyboards.

Based on this photo of Brad playing an acoustic guitar with a capo, which doesn't correspond to anything in the live set from the last run, my best guess would be that they're at least rehearsing Sharp Edges. I wouldn't necessarily think that's what Mike's playing in his photo, though. In "LP speak," "new song" = "any song from our latest album." He could easily be playing One More Light or something here. I'd never expect them to refer to anything from a previous album as "new" though, regardless of whether it's ever been played before or not.

Whoever has the domain now has their robots.txt file set to deny access to web crawlers.

The train station connected to the arena reopened today, the arena itself probably won't be far behind. Still subject to change, but as of now the Kings of Leon gig on June 9th is expected to go on as planned.

THP sold around 10,000 more copies its first week than it looks like OML will have (once the exact numbers come in), and debuted during a week that happened to end up being the first week in all of 2014 to have three albums sell over 100,000 copies. Damn near any other week that year, 110,000 copies would have been an easy #1. OML will not make them any more money than any other album they've done in recent years (possibly even less), Heavy never cracked the top 50 and none of the subsequent singles will do nearly as well because nothing else on the record has quite as much crossover pop radio appearl (and lead singles nearly always perform better regardless), and the album is largely being viewed as flop by the press. I guarantee they knew all of this would transpire long before the record came out. They're not stupid.

Otherwise, I could potentially see there maybe being a legal dispute between Cinderella and Linkin Park over the lyrics to UIG that was never publicized? "Don't Know What You Got (Till It's Gone)" was that band's biggest hit, after all.

Recharged peaked at #10.

Look at the context, this wasn't in reference to the live set whatsoever, it was about UIG being dropped from the Transformers 4 soundtrack: https://twitter.com/ChesterBe/status/867773573993078784

Translation: "I'm one of those APFMH fanboys who will do a complete 180 and say the set is great if they add it to the show, even if they don't change anything else about the set." People may think I'm being hyperbolic here, but it's literally happened with a surprisingly large number of people on the forums every single time that song's been brought back after any kind of absence, lol. What do you want them to do, play the full version of Crawling in its original key with the full band again even though it and Given Up have been utterly destroying Chester's voice for a decade or more? The piano version in the current set isn't just about doing something different, it's about doing something for the sake of the longevity of their lead singer's ability to continue having a fucking career, lol. Yeah let's just go ahead and do that, plus throw APFMH, With You, From the Inside, and Lying From You back in the set, drop all but 2 songs from the new album they're trying to promote, and call it "more passionate." Because clearly, "passion" and "early 2000's nu metal teen angst" are fucking synonyms. Nevermind the fact that these guys are in their 40s and maybe, just maybe, "YOU TRY TO TAKE THE BEST OF ME, GO AWAY" seems a little juvenile and/or insincere to them literally TWO DECADES after originally writing that song?

This will be considerably more than six songs.

So you absolutely love a song from an album, but refuse to listen to said album because of your preconceived notions of what it sounds like? I wish I could understand what it feels like to be this ignorant.

Holy shit, I thought the LP fanbase had its fair share of idiots, but look at the comments from Depeche Mode fans on their Facebook page, lol. Wow.

Michael Keenan and Michael (Keenan) Leary are the same person. He uses his middle name instead of his last name professionally.

Alright, here's my in-depth review so Y'ALL CAN STOP BUGGING ME ABOUT IT THE ALBUM HASN'T EVEN BEEN OUT FOR A DAY HERE YET JEEZ. Nobody Can Save Me - 7.5/10 This and Talking to Myself are probably the two most conventionally "Linkin Park-sounding" songs on the record. In terms of energy, I think Talking to Myself would be a better album opener than this, but this would probably be my second choice. This one gets lots of comparisons to Battle Symphony and while I think there are some definite similarities in structure, this song's got more interesting stuff going on with the instrumentation. I think a more well-developed bridge would have helped this song tremendously, although I do like how the bridge re-appears vocally at the end of the song to serve as an outro. Good Goodbye - 3/10 Still can't get past the cringeworthy "hoes" line in Stormzy's verse and just how bad the two guest rap verses are in general. If they swapped Stormzy out with Mike's original last verse that he does on the live version, I'd at least bump this up a couple points, but there's still not a whole lot to like about this either way. The chorus is the worst on the album, the instrumentation isn't really that exciting...easily one of my least favorite Linkin Park tracks. At least the music video is fucking hilarious. Talking to Myself - 8/10 That lead guitar line is catchy as hell! Really like the echoed/effected vocal lines in the verses, the acoustic guitar showing up in the bridge and outro is a nice touch, and Chester sounds really good on this one. My only gripe about this song is that the live version brings so much more energy to the table, the studio version just seems to drag a little. Not nearly as drastic of a live vs. studio difference as say, Lost in the Echo or Bleed it Out, but still noteworthy. Battle Symphony - 7/10 Basically take everything I said about Nobody Can Save Me and apply it to a slightly more generic-sounding song, and that's about what I have to say about Battle Symphony. There are a TON of guitar tracks buried in the mix on this one, I wish they were brought out more...geting some flashbacks to the horrible mixing on Living Things with this song, and that's never a good thing. Still, good melody throughout this one, and an overall really pleasant-sounding musical soundscape. Invisible - 8/10 I guess I'm in the minority in that I like this more than Sorry for Now. I like how it's an uplifting song in a major key that still manages to have some really dark-sounding musical elements to it. The guitar part that comes in during the last chorus is just perfect. Brad doesn't play a lot of complicated stuff but he's always been incredibly good at knowing what to play and when. The little music box-like outro is really cool too, wish they included that in the live version. Heavy - 4/10 I still feel pretty much the same about this song as I did when it came out. I don't like Chester's singing on this, to the point that it's almost a relief when Kiiara's verse comes in. This would have worked way better as a song on her album that Mike produced or something. The vocal production on this track is absolutely stellar (check out the acapella), but it's still just a generic, poorly-written song with very little substance to it. Sorry for Now - 7.5/10 While I like Invisible better, I will say that this song has the better vocal performance from Mike. In fact, I think it's the best all-around vocal performance of his career. Chester's bridge on this kind of comes across as a second-rate imitation of Mike's bridge on Waiting for the End, it seems kind of forced, like they just HAD to have Chester on this song for whatever reason. Also, the mixing on this song takes a HUGE downturn during the last chorus - where do the vocals go? The volume of the vocals drops drastically as soon as all of the other instruments come in. It literally sounds like somebody accidentally bumped the master fader with all the vocals on it while they were doing the mixdown. HUGE head-scratcher. Anyway I generally like the song, I think the idea of all of the jumbled-up synth and guitar samples being stitched together into a new musical idea that happens a couple times in this song was a cool idea, it just wasn't as well-executed as it could have been. Halfway Right - 6/10 Most filler-sounding track on the album for sure. There are times when "na-na's" and "whoa-oh's" work (see: Roads Untraveled, When They Come for Me), but they just don't work here, probably because it's the only song on the album that has them, which almost makes it seem like they never finished the song. I WANT to like this song because it has some of my favorite instrumental stuff on the album in it (those tubular bell samples in the last chorus are AMAZING), but I just have an overwhelming sense of indifference every time I listen to this one, and it hasn't grown on me. One More Light - 10/10 Unquestionably the best ballad of Linkin Park's career. It's the most emotionally-affecting song in their discography for me, having lost my dad to cancer not too long ago. The minimal instrumentation works perfectly on this one, and some of those fingerpicked chord voicings Brad uses are just brilliant - I literally thought there were two guitar parts at first! The only thing I would change is to bring out Chester's high "I do" during the guitar solo a little more, it's a really nice moment that gets kind of buried in the mix. But otherwise, this is absolutely the highlight of the album and easily a top 5 Linkin Park song for me. Sharp Edges - 5/10 LP doing an imitation of old Mumford and Sons after Mumford and Sons already abandoned their old sound on their most recent album, particularly as an album-closing track, just doesn't work. I feel like the instrumentation doesn't fit with the lyrical content at all on this one either. If you're going with an acoustic track as an album closer, don't make it an upbeat "stomp-clap" tune when the song right before it is the most heart-wrenching ballad you've ever written. If the lyrics weren't so personal I'd almost think this track is supposed to be some weird form of comic relief. Keep this instrumental track and put some more lighthearted lyrics to it and you'd have something decent, but as it is this is a song that doesn't make sense at all, in terms of both composition and album sequencing. Not a good way to end things. Overall album score - 66/100 I'd have to dig up my reviews of other albums to double-check, but I'm pretty sure this is the lowest combined score I've given a Linkin Park record. It's not irredeemably bad, there are a few highlights and the couple REALLY sub-par tracks on it bring the score down considerably. However, there's a lot of mediocrity here too, a lot of "almost good" and "I like this, but..." kind of tracks. I think between trying to reinvent their songwriting process for seemingly the hundredth time, bringing in SO MANY outside collaborators, and generally trying to write songs in styles they're unfamiliar with, they may have tried to do too many things differently at once. I think this album mirrors Minutes to Midnight in that regard, there was SO much going on in writing both albums that was different than what the band was used to that it was hard to imagine the end result being anything BUT inconsistent (although I do think Minutes to Midnight ended up being a better record than this, for what it's worth). On a positive note, I think the general "Linkin Park does a pop album" thing went over more smoothly with me than I expected it would. I don't know what it is about this band, but they have a knack for doing things that on paper seem like they'd never sound like Linkin Park, but once I listen to them, I just go "Oh...yeah, this actually does still sound like Linkin Park." Whether the songs are good, bad, or somewhere in between, they've ultimately made another album that still manages to make sense as a Linkin Park album, and I think that's probably the most important thing.

I dunno about the rest of you guys, but I would totally understand if Chester decides to cancel the Kimmel performance tonight. Losing Chris has to be like losing Scott for him, except even worse because Chris was actually one of his best friends.