Astat

Band gets older, band's fans get older, people are generally opposed to change/new things and start to either universally criticize or outright ignore new material the band puts out. Band's newer albums don't sell as well as their old ones did, band's newer singles don't perform as well as their old ones did, and the new songs the band does add to the live set don't get nearly the reception their "classics" do. When the general opinion of the average fan at a Linkin Park show is "Everything after Minutes to Midnight sucks, I'm hoping they play In the End, Numb, and What I've Done...what, they have a new album out? I had no idea," why the hell WOULD they go to the trouble of playing as much of their new material as possible? The people who DON'T spend time on Linkin Park fan forums like we do either don't like most of the new material or don't even know it exists. There were people IN THE FRONT ROW with me at Carnivores last year who were saying things like "The only good song on the new album is that You Don't Know What You've Got Until It's Gone song," and when I called them on their bullshit and asked them to even name another song title from the new album, they couldn't come up with one. These aren't just the "average fans" anymore, these are the people dropping almost a hundred bucks a ticket on a show and waiting outside the venue for hours to be up front. People on sites like this don't realize that they are in a TINY minority segment of the band's overall fanbase. Unless Linkin Park randomly pulls another crossover top 10 hit single (as in pop chart success, not the rock charts) out of their ass at some point, they're firmly cemented in "heritage act" territory by now. I think that's been the case ever since they started playing the majority of Hybrid Theory again at the start of the Living Things cycle.

I don't think the White Noise thing is really true, the single version just sounds like it wasn't as brickwalled as the final master.

The Chester and Rob signatures look similar to other signed items I have from them, the Joe one is kind of passable...the other 3 aren't even close IMO. The term "authentic sheet music" is relative. There are "official" sheet music books of LP music that are licensed by the band/WBR, but they aren't actually transcribed by them so they're just as prone to errors as any non-official transcription (they basically just paid an employee of one of the big sheet music publishers like Hal Leonard to transcribe the stuff for them). Same goes for guitar tab books, or even the lyrics printed in the album booklets in some cases. I don't think any members of LP actually do any kind of sheet music scoring with their material unless its necessary, like when they're putting together string arrangements. I know at least a couple of them (Mike and Rob from their piano background, and probably Phoenix due to his experience with stringed instruments) CAN read and transcribe sheet music, but they rarely do.

Also, the intro to Mike's solo medley sounded completely normal to me.

That's 100% NOT Fallout under the DTB intro...why does every synth thing automatically have to be from another song, you guys? Christ, he's just playing the normal DTB chord progression using a generic synth patch. The progression in Fallout is COMPLETELY different...

They sing over the top of the album gang vocals. Lots of live songs from the ATS/LT era used pre-recorded backing vocals to some extent. Iridescent/Waiting for the End are the only two left in the set these days.

Benjamin doesn't play everything perfectly, he played the verse part of Breaking the Habit on the G string instead of the D string so it sounded unusually twangy, and he plays parts of Rebellion completely wrong (this was the case in Brazil too - Brad still plays parts of Rebellion totally different from Daron though so Benjamin doesn't have the best example to follow). He also didn't play the guitar part at the end of COG Experience (not that it's terribly important to the song anyway). He nailed ALITS though, and he seemed to know FTI. Pretty impressed. Mixing on the TV broadcast was still pretty awful, although the guitar was certainly audible at a normal level most of the time (the solo at the end of ALITS was really low in the mix for some reason, that could just be a volume discrepancy in the wah effect Benjamin uses though). I'm amazed at how well he seems to have learned the material though, I can only think of MAYBE one person not named Brad who could do it better...

My prediction for the full set: 01. Papercut 02. Given Up 03. From the Inside 04. One Step Closer 05. A Line in the Sand 06. Runaway (shortened) 07. Wastelands 08. Castle of Glass Experience 09. Ballad Medley 10. Robot Boy (short instrumental) 11. Joe Solo 12. Burn It Down 13. New Divide 14. Final Masquerade 15. Mike Solo 16. Numb 17. In the End 18. A Place for My Head 19. Faint Encore: 20. Guilty All the Same 21. Waiting for the End 22. What I've Done 23. Bleed It Out I hate BID/New Divide being right next to each other, and WFTE in the encore is really weird. Based on the popularity of New Divide, I feel like it makes way more sense to put it in the encore and put WFTE after BID, but I doubt they played the Rock in Rio set the way they did if they were just planning on swapping those two songs later, unfortunately. I think GATS, Final Masquerade, FTI, and APFMH will all return. I don't see UIG/Rebellion being resurrected at this point.

Totally got my years mixed up, thought the Camden Summit was in 2014.

Full audience video of Camden 2014 (incorrectly labeled as "full show 2015" on Youtube), just posted last week and first I've seen of it: https://www.youtube.com/watch?v=FA9Ub-F3uog

Nearly a month's notice of this performance, cheap tickets, and an LPU giveaway...and we still don't know shit about this. #WestCoastFail

Song was created entirely by Mike and Mark Wakefield, and Mark Wakefield doesn't play guitar, so... And that solo is not the least bit impressive. It's incredibly sloppy, "I've been playing for 6 months and just learned the blues scale"-level playing. Sounds like a 15 year old kid trying to ape an AC/DC solo.

Don't put something that ranks in the top 2 or 3 songs you've ever recorded in the setlist if you can't play it at its original tempo. This version of ALITS drags SO. FUCKING. BAD. The energy of the studio version is just GONE. Cool to see them try it and glad we got a proshot of it, but they can drop it for good after one performance for all I care. /unpopularopinion

I have a feeling when this FM stuff happens, it's going to come out of the blue about as suddenly as Chester joining STP did. With as much music as he's constantly writing, Mike could easily drop an album on us with no prior announcement or anything, and FM would be a cool project to try it with.

If they're just getting around to releasing this stuff as LPTV episodes a year after the album came out, there is absolutely no way a DVD is happening. That ship has LONG sailed.

That's typical of him when he isn't working on his own material. His work on Electric Uncle Sam by Primus was 100% improvised on the spot too.

That guitar's almost exclusively used for HT/Meteora songs these days, it's always in Db tuning and the only song they've recorded in that tuning from ATS onwards was Powerless, which hasn't been played. He's probably playing FTI or something like that.

KT Tape. Probably for pain relief stemming from carpal tunnel syndrome and/or tendinitis in his wrist/forearm. He used to wear a wrist brace backstage sometimes before he started using the tape.

Not nearly as sure on this as I was about the War photo from the last round of rehearsals, but it looks like Brad's playing a 5th fret D octave and Mike's playing a Bb5 chord at the 8th fret, which would be consistent with parts of A Line in the Sand... As for whether it actually gets played or not, I'll believe it when I see it. LP's been the kings of making empty promises about debuting new songs over the past 3 years...

I wasn't aware pitch correction made the act of singing no longer necessary.

No. That's the interview where Chester said the album title was going to be "T______ and T______." The interviewer guessed "Trials and Tribulations," to which Chester gave a non-committal answer. The actual title he was referring to was "In Triumph and Tragedy"/"Triumph and Tragedy."

I've always figured the audio on the DVD is the full Dallas performance (the video is a mix of the two shows), while the CD/LPU 3 use portions of both shows. No way of knowing that for sure though. Surprised nobody ever thought to ask Brandon Belsky about LIT during his time in Julien-K/DBS, he'd probably remember stuff like that.

It's about the same as the LIT CD, which is noticeably different than the audio mix on the DVD. The CD and DVD also don't always use the same performances for certain songs (or at the very least they mixed the two performances together in different ways - Mike addressing the audience during the bridge of Don't Stay is different on LPU 3 than it is on the DVD for example). Always bugged the hell out of me that they cut most of the APFMH intro on LPU 3 too...

3 and 7 were the only truly slap-in-the-face, cop-out-so-we-don't-actually-have-to-release-anything-you-didn't-already-have bullshit LPU CDs. 5 was kind of lame and an extremely poor mix, but it's not like there was ever an official release of the full Live 8 performance otherwise (between the LPU 5 CD and the two songs on the Live 8 DVD box set, the only song missing is Crawling). 8 was a cool idea, but the songs were way too short and not really all that funny. Other than those 4, I find every LPU CD to be equally legitimate in one way or another. Obviously the post-LPU 9 era where we get more songs on each CD is pretty cool though.

First solo is a combination of both guitarists. Brad does the octave thing at the beginning, then the other guy takes over, then they both solo together for like the last 2 bars.