Astat

I can't even just review the show, I have to like...review my entire day yesterday, lol. So my wife and I got up at the totally reasonable time of 5:30 in the fucking morning yesterday...running on about 4 hours of sleep. The fair opens at 6 AM and parking is a nightmare if you don't get there early, so we did exactly that. We got there at about 8 and were lucky enough to get in one of the parking lots right behind the Grandstand. As an aside, I have to say this was easily the most expensive concert experience ever. $81 a piece for two pit tickets, plus $13 a piece for fair admission, plus ANOTHER $13 for parking. We were over $200 into this by the time we got in the door, and it's the fucking state fair, so you know we spent a shit ton of money on food and stuff throughout the day too. We had about $80 cash when we walked in (after covering admission/parking, mind you)...we walked out with $18.50, lol. Anyway, we spent the first part of the day doing your standard state fair stuff. Ate a bunch of food that will likely kill us one day, rode a couple rides, looked at adorable animals...etc. Doors for the show were at 5:30, we got in line between 2 and 2:30. Listened to soundcheck, Pooch was playing a recent live recording of Guilty All the Same to test things out, it was interesting hearing him pull various layers out of the song to hear different things. Then the crew started soundchecking the actual instruments, got to hear the traditional "roadie jam" on Faint (bummed Sean isn't around to be part of it anymore though!), heard some other interesting things like the beat from Wretches and Kings too. Met Lonewolf818 while we were waiting, and Lorenzo came down and chatted with us for a while. Both awesome dudes. We got some flyers for those creepily-realistic LP figurines too. Once the doors opened, we were among the first people to get in, and we ended up one "row" back from the barricade on Brad's side of the stage. The two girls in front of us happened to only be there for AFI, and offered us their barricade spots once they left after AFI's set. Score! AFI was supposed to go on at 6:30. At approximately 6:22, a girl a few feet to the right of us had a seizure and went down. Security/medical staff were there almost immediately, and she seemed to be doing alright, but they still had to get her out of there. I saw about 3 or 4 people taking pictures of the girl with their smartphones while she was laying on the ground. Humanity fucking disgusts me. But what REALLY bothered me about the whole situation was that the whole crew had walkie talkies and were talking on them, so I assumed AFI's set would be delayed a few minutes while they got her out. While she's still on the ground, the house lights go out, and AFI's intro starts. I'll give them the benefit of the doubt and assume that the info didn't get relayed backstage in time to put the show on hold, but AFI didn't make any effort whatsoever to acknowledge this poor girl who was laying on the ground in the middle of the pit with EMS workers around her during their first couple songs. There's no fucking way they didn't see her, she was literally no more than 5 feet back from the barricade directly in front of Hunter and Davey, and it was still broad daylight at the start of AFI's set. As a musician, I understand the whole "don't stop a song in front of an audience" thing, but you'd think they'd finish the first song and then wait for her to get out before continuing...just really bugged me. Anyway, questionable move of continuing the concert aside, AFI put on a good show. All 4 of those guys have fantastic stage presence, and they do a semi-decent job of playing their parts correctly while executing said stage presence. Jade hit a few clunkers on his guitar parts here and there and Hunter's bass was cutting out for the first couple songs, but that was about it. Setlist was apparently the same one they've been playing going by the printed setlist on stage, although I swear I remember there being two songs between I Hope You Suffer and Love Like Winter...? Does Medicate have a big pause in the middle of it or something? Not familiar with that song, so maybe I thought it was 2. I also swear 17 Crimes was played AFTER The Days of the Phoenix...but I went completely off of memory when I tweeted the setlist afterwards. I'm not too familiar with AFI's material outside of the Black Sails in the Sunset through Decemberunderground period (how I didn't recognize The Days of the Phoenix at first, I don't know!), so that may have been fucking with me. Also, Davey did a great job of singing in tune, with one IRRITATING AS FUCK exception. I remember back when Decemberunderground came out, I saw AFI do a live TV performance of Miss Murder, and Davey sounded like shit. He was also singing the chorus wrong, on the "can I"/"if I" lines, he was singing "I" a half step lower than the previous word, when it's supposed to be the same note. It sounded out-of-tune and terrible to the point of almost ruining the song. I chalked it up to him sounding like crap overall and having a bad night. Fast forward to EIGHT YEARS LATER...and HE STILL SINGS IT THAT WAY. How the fuck do you go that long without noticing that you're singing the chorus to the biggest hit of your career flat-out wrong?! Completely stumped on that one, as he literally sounded great throughout the entire rest of the set. Oh, one other thing, during the last part of Miss Murder, Hunter didn't realize he was standing on Davey's microphone cable...Davey tried to run over to the other side of the stage and it was kind of like that cartoony dog-on-a-leash-tries-to-run-away thing, except he didn't actually fall over. They both had a good laugh about that. ...Damn, this is a long post. I'm gonna split this into two parts and post the rest tomorrow.

I've been going since 5:30 AM on 4 hours of sleep, so I'll keep this short, full review coming tomorrow: Standard Set B tonight, with the exception of a false start on Mike's solo medley. Something got screwed up with the samples during the intro, prompting a confused look from Mike. When the Wretches and Kings verse would normally start, he waved to the side of the stage to stop (I'm assuming to Tater, since he controls all of the click tracks and backing tracks). Started the whole thing over. Also, there was an extended Mike/Brad guitar interplay thing based on the chord progression from The Catalyst after Rob's drum solo, don't recall hearing that before (this was all before Chester even came back on stage to start the vocal part from The Catalyst). Fireworks at the end of the show, too. Oh, and I was the "guy in the front row in the Fort Minor shirt" that Mike gave a shoutout to during Remember the Name.

...Well, this is certainly the earliest I've ever woken up for an LP show. I blame LuLu's and their new breakfast juicy lucy sandwiches. If anybody wants to meet up, I'm sure most of you generally have an idea what I look like (glances at profile pic...), but I'll be wearing a black Fort Minor t-shirt, jeans, and (knockoff) chucks. Not sure if I'll live tweet everything tonight, but I know Set B, so I'll mention anything significant that happens.

lol no.

Falcon Heights basically consists of the area between Cleveland Ave and Snelling Ave on the east/west borders and Roselawn Ave and Como Ave on the north/south borders. The fairgrounds and the U of M campus occupy most of that area. Most of the local businesses just use St. Paul for their mailing address because it's such a small area. If it rains, it rains. Hopefully it'll keep the fair crowds down a bit if it does. I've never been to the MN state fair before and I'm slightly intimidated by it, haha. I'll be at the fair pretty much all day, anybody who's there and wants to meet up, hit me up on Twitter. @astatslpvids

Am I seriously like, the only person who thinks APFMH closing would suck? That song ends way too abruptly to have nothing after it. Second to last song, absolutely. Closing, FUCK no.

During the first part of the Minutes to Midnight touring cycle, when the band not playing APFMH was a completely foregin concept to us, a lot of fans asked Mike about it during M&G's, and his response was always something along the lines of "ask Brad Delson, playing that song would be up to him."

Yeah, the APFMH intro guitar sounded weird on this one. It's normally drenched in delay, but it's really dry on this recording. I noticed it sounding odd on the audience recording too though, maybe Ben just didn't get the settings on the Axe-FX totally right for that part.

Thats always been something LP's used on their acoustic guitars and very common in general, it's a feedback eliminator. You just pop it in the soundhole and it reduces the amount of vibration that travels through the top of the guitar. Any kind of hollowbody guitar is prone to feedback when plugged in because they pick up EVERYTHING. I can plug in my acoustic/electric and make it feedback by blowing on it. BTW, Brad hates A Place For My Head about as much as Chester hates Runaway. He never wants to play it.

Fiore is still around. He's explicitly thanked (along with a few other people) for "putting in a ton of hours on this project" in the THP liner notes.

I believe they do have 4 different frequencies on Brad's rig. Like I said, one is always his main PRS, one is always his main Strat, and they swap the rest of the guitars between the other 2 channels as needed. The Audio-Technica system he uses has that "multi-diversity" antenna on it or whatever it's called, which I assume can scan through all available frequencies and find clear ones on a show-to-show basis. Even my low-end AT wireless that I use occasionally can scan frequencies for openings, it just doesn't have nearly as many to choose from. As far as I can tell, the packs are just taped onto the straps. I'm still puzzled by Joe's rig. Mike went into detail about how the "brain" of Joe's current rig is a Microsoft Surface tablet in the interview his just did with Tim Ferris...yet the tablets we've seen him with lately appear to be iPads.

Literally any show the band has played in Central or South America in their entire career, for starters. Also, LMAO @ you including Live in Texas in that list. Yep, a half-empty stadium full of disinterested Metallica fans was a great Linkin Park crowd, alright...the crowd shots on the DVD don't lie. The crowd screaming "GO AWAY" so loud on APFMH was sarcasm that was apparently lost on nearly everyone in the Linkin Park camp, including the band - they were literally yelling at them to get off the stage.

They've gone over the 11 PM curfew numerous times already on this tour. It's a non-issue for them. Chester just started singing before Rob got to do his solo, simple as that.

I'm completely baffled as to what you're trying to say here. You used Bristow as your example in your original post. Yet on the Bristow show page, there is nothing about New Divide having an outro transition, and Crawling wasn't played at that show. That's the case for all of the Set B shows. Nothing wrong there. For all of the Set A shows, the Crawling beat clearly comes in underneath the outro synth from New Divide. That's a transition. Once the Crawling synth starts, it's exactly the same length as the album version. That's not a "short intro." Are you trying to say we should change the way New Divide/Crawling are listed in Set A because of the way New Divide is played in Set B? Because if you are, that's fucking ridiculous. Anyway...here are a few corrections for Set B. Not nearly as many this time around. -Lying From You has a really weird arrangement. It goes DOYS/LFY verse 1 > DOYS/LFY chorus w/Jay-Z vocal samples > LFY verse 2 > LFY chorus 2 > LFY bridge w/Jay-Z vocal samples > LFY chorus 3 > DOYS/LFY outro. It's basically the full song, save for the intro...but it doesn't really follow the format of the album version OR the Collision Course version. I almost feel like we should list it as "Dirt Off Your Shoulder/Lying From You (2014 Version)" or something to that effect. Or "Lying From You (2014 Version w/Dirt Off Your Shoulder samples). BTW, it's "Dirt Off Your Shoulder," not "Dirt Off Your Shoulders." -There's some kind of sample intro thing before BID starts the encore. It's not the Until It's Gone sample from Europe like they use with LITE in Set A...not really sure what it is. Other than that, I think we've pretty much got everything!

"Fixed" version of Set B: 01. Mashup Intro #2 02. Guilty All the Same 03. Given Up (ext. outro w/extra note) 04. With You 05. One Step Closer (w/ext. outro) 06. Blackout (shortened instrumental, transition outro) 07. Papercut 08. Rebellion 09. Wastelands 10. Castle of Glass (Experience Version) (piano transition outro w/Drawbar tease) 11. Final Masquerade 12. Robot Boy (shortened instrumental) 13. Joe Solo Medley 14. Somewhere I Belong 15. Waiting For the End (Apaches intro, Wall of Noise outro) 16. Mike Solo Medley 17. Lying From You (Dirt Off Your Shoulders intro/bridge/outro) 18. In the End 19. Faint (w/ext. outro) 20. Until It's Gone (w/extended The Catalyst/New Divide/No More Sorrow mashup intro) 21. Numb (w/Numb/Encore outro) 22. Burn it Down (shortened) 23. Lost in the Echo (shortened) 24. New Divide (shortened) 25. What I've Done (w/extended bridge solo) 26. Bleed it Out (ext. intro, ext. bridge w/drum solo and The Catalyst refrain, ext. outro) Mostly the same changes I made to Set A, but a list anyway: -Play Papercut in full. -Drop Runaway, give Wastelands its album version intro. -Drawbar tease coming out of COG, leading into Final Masquerade, which replaces Ballad Medley. -Move Somewhere I Belong up to after Joe's solo medley. It seems kind of out of place as late in the set as they're playing it now. -Completely revise the encore. Put Until it's Gone first (full song), with the Europe intro. -Move Numb down to the second slot in the encore. It's a song that gets a big crowd reaction, so it'll help energize things. -Burn it Down can remain shortened in this set for the sake of the encore not being long as hell, but move it down to the 3rd slot. It has no business being an encore opener. -Lost in the Echo/New Divide remain shortened. Ideally I'd like to see the longer version of LITE played in Europe, but I'd allow the "shorter" U.S. version in this set because it feels a little longer than Set A, particularly in the encore. -As always, I think WID should have its album version intro again. Again, this is such an easy fix that doesn't require them doing anything they aren't already doing. SO much better than the current Set B structure.

I'm not talking about the "Back to 2014" link. I'm talking about the "Linkin Park Live > Pages > Shows > 2014" link above that. Rebellion seems to completely stop before Runaway, so I'd go with an extended Runaway intro. Outro transition on UIG makes the most sense, but we'd need to differentiate it from the UIG > ALTNC transition outro somehow, because it's a lot different. *Edit* And yeah, Mike's doing a weird hybrid verse on Wretches. I don't think he's ever gotten the lyrics to that one right, going all the way back to the ATS tour.

I believe Mike's using the Maschine for "one-shot" samples that don't need to be manipulated (i.e. drum samples), and the iPads running the Lemur software for synth-y stuff that can be manipulated (the top screen has the pads to play the samples, the bottom screen has the faders to manipulate the settings on them). -Brad's using his rarely-seen blueburst Custom 24 for Rebellion, as it's in Drop C tuning. Mike is actually still in Drop D on that song, as he only plays the lead melody part. -Mike appears to be using a guitar in D# A# D# G# C F tuning on Final Masquerade (one half step higher than Drop D), as it looks like he's playing the low Eb chords as open strings on the Camden webcast. Not sure why he isn't just using his Drop D guitar with a capo on the first fret...

I doubt he would "count" anyway. Touring members are typically considered to be on par with roadies by the "real" band members. The 30STM touring bassist is practically hidden from view on stage and doesn't even dress up for the shows like the other 3 guys do.

On all of the 2014 show pages, clicking the "2014" link at the top again takes you to this link, which is broken: http://lplive.net/shows/db/2014/ The correct link should be: http://lplive.net/shows/2014 And more 2014 setlist corrections: -At least as of the Carnivores tour, Mike has been using Wretches and Kings verse 1 OR verse 2 during his solo medley (he used verse 2 at Camden). I have no idea which shows got which verse, but LPL currently says verse 1 for all performances, which is wrong. -Some Carnivores tour pages still say New Divide had no bridge, this is incorrect. The production rehearsal is one example. -The new shortened Lost in the Echo says "no second verse, second chorus, or bridge," which isn't exactly correct, as that would imply they played both chorus 1 and chorus 3, but they really only played one chorus. It's essentially chorus 1 with chorus 3's ending. Intro > Verse 1 > Chorus > Outro. -The With You verse in the encore of Set A is NOT part of an extended Crawling outro, it's an extended Until It's Gone intro. The beat under it is the intro beat from Until It's Gone. It's done exactly the same way the POA verse in Set B is done, which is probably why Mike screwed up and did the With You verse the first time they played Set B. -Until It's Gone in Set A has a transition outro into What I've Done, which now also has an extended ticking intro compared to the European version. -All performances of Mike's solo medley that feature the verse from Remember the Name feature TWO verses, not just verse 1. Mike does both of his verses from the song. Since the studio verses go Mike > Tak > Ryu on verse 1 and Ryu > Tak > Mike on verse 2, Mike combines his two "sections" together to create one verse. Not sure on everything in Set B, as I haven't heard a full recording of it yet. I'm sure there will be more corrections when I do. -All Carnivores tour performances of Runaway feature an extended intro, which isn't noted on any LPL pages as far as I'm aware.

"Of the 16 people on this tour..." Linkin Park, 30 Seconds to Mars, and AFI currently have a total of 13 members between them...?

Chester has never had "throat or voice-related surgery," period. Proshot recordings (at least those that are aired after the show takes place) aren't a good indicator as to the presence of things like Auto Tune, because there's always time for stuff to be edited later. Live broadcasts/webcasts are somewh at more reliable, but even then, you have the variable of the production crew for the TV station/website/whatever using their equipment in addition to the equipment used by LP's sound crew, so they could still be putting additional plugins on the live feed in real-time that aren't actually being used at the show. Going off audience recordings, the earliest I've noticed the use of Auto Tune in a live LP performance was in 2012.

Well if Chester and Talinda keep going at the rate they are...

Pretty sure Ethan Mates did this one.

No.

I don't think Mike OR Chester played guitar on that song in the studio (definitely not Chester). There's footage of Brad recording the rhythm parts on a Les Paul on Making of MTM/LPTV (one of the two). People tend to take what instruments the band plays on a song live as gospel when it comes to personnel on studio recordings, for some reason. This one takes it a step further, as Chester playing rhythm guitar on NRL was nothing more than the community speculating he would do so if the song was played live, since he wouldn't really have much in the way of vocal parts on it. The "personnel" credits on LP Wikipedia pages are almost always wrong in some way.