Gig Watch: Linkin Park
& Chris Cornell
By Lisa Dib
 Download Album Here:
Purchase CD: 
Alright,
alright, no need to twist my arm about it, I was skeptical. I was
expecting tonight's festivities to be a mass of black-clad, under-aged,
mopey nu-metallers and emos, all snapping photos of themselves for
their MySpace display photo with a caption saying "OMG LINKN PARK
YO!!!11!".
And apart from the photo-taking bit, I was utterly wrong: the crowd was
a mixed bag from the likes of fluro-slogan tees to heavy metal band
shirts.
Linkin Park have been one of the few genuinely decent bands to cross
over genres and trends while keeping their fanbase.
Chris Cornell (of Soundgarden and Audioslave fame, for those
uninitiated) opened the nights merrymaking to a disappointingly
half-full arena.
I have to admit feeling sorry for him, this wasn't exactly his target
market. There was a beach ball being thrown about the crowd that
ellicted more cheer from the GA area than Cornell's entrance, which
worried me. Even though the 6 guys sitting next to me left just after
Cornell's set, having paid a full $100 to see him and not the
headliners, I couldn't help but feel that despite his stellar success,
people saw him as 'Just Another Support Act to Sit Through'.
For the fans, though, he tore his way through hits from Soundgarden (Black Hole Sun,
personal headbanging favourite, Rusty
Cage, and crowd- moistener Spoonman) and most
recent supergroup Audioslave (Show
Me How to Live and the beyond brilliant Cochise that I
almost exploded waiting for).
His solo stuff was appreciated, but was nowhere near as cherished as
the rock hero's classics.The only disappointment with the
Cornell set seemed to be stemming from his trademark scream (the blare
that seperated him from other mumbling frontmen like Eddie Vedder and
the abysmal Scott Stapp) which was not up to par. I've been refuted on
this by several people who also saw the show, but I stand by my
critique, gosh darn it!
The big moment arrived. Houselights dimmed, the excitement from the
beach ball game now quickly dead, Linkin Park explode onto the stage
with their very first hit, One
Step Closer from the 2000 album "Hybrid Theory".
As the crowd sang along obediantly, singer Chester bounded about the
stage like a madman: his showmanship and energy is second to none, like
some delicious circus act. (I also consider the line "Shut up when I'm
talking to you!" from OSC to be the new "Fuck you, I won't do what you
tell me!").
I was surprised at the breadth of older material they played, having
seen most long-standing acts abandon their earlier work in favour of
newer music - usually off their latest album (to plug it, make sure
people bought the album, blah blah blah, cash, cash, cash) - but
tonight's set took me back, way back!
See, "Hybrid Theory" was the "Sgt. Pepper" of my high-school life.
Before I knew of the likes of artistry I know now, I first got into
music via stepping-stone bands like Good Charlotte and Korn
(cringeworthy now, but before I knew of "alternative" music I was
listening to Nelly and bad techno, so thank your lucky stars I found
pop-punk when I did).
"Hybrid Theory" made me realise you didn't always have to sing about
bitches and bling: that music could be spiritual, emotional, compelling
and intense. In the same way The
Beatles set a lot of people onto a journey of musical
discovery, such was the influence that Linkin Park had on me. And I'm
not ashamed! Loud and proud!
Anyway, Linkin Park burned through their "Hybird Theory" work like a
juggernaut, sending heads banging and feet stomping and fists punching
skywards with tracks Papercut,
Pushing
Me Away, Crawling
and personal favourite Points
of Authority which, I am not embarrassed to admit, sang
along at full volume to. It's just too likeable!
However, half way through the set - something occured which
could've ruined the show for all concerned: Chester had climbed a small
flight of stairs set up on the stage to allow access to Joe Hahn (DJ)
and Rob Bourdon (drums). It also added even more space for Chester to
gallavant about in. But as he climbed atop the structure, his legs gave
way and the screaming frontman fell flat onto the lower stage. He got
up and brushed himself off with nonchalance, much to the crowd's
acclamation, but a short time later he had to be excused. Mike Shinoda,
Park's resident MC and Chester's hip-hop counterpart, told the
crowd that Chester had broken his wrist and needed to be attended to.
But, like the rock trooper he is, Chester emerged minutes later,
heroically claiming, "If it's broken now, It'll still be broken in an
hour". If nothing else, you can't deny the Linkin Park boys their rock
balls or their willingness to entertain.
|
|
|
|
Linkin Park's Chester and Mike Shinoda
were
in form the whole night - despite setbacks
|
|
|
Newbie LP fans and faithful followers alike were treated to the latest
Park material, like current hit single Bleed It Out from
their most recent album, "Minutes to Midnight". Although I didn't
particularly fancy contemporary Linkin Park, I could admit they rarely
put a foot wrong when it came to their long-standing fans. Rarely
disappointing, forever giving.
The boys did the trademark end-fakeout (have
you ever wondered what
bands do backstage while they're waiting to come back on? Have a smoko?
Check their emails? Pre-groupie groupies?) and came back with sombre,
visceral renditions of The
Little Things you Give Away and classic teen-angst stereo
fodder In The End.
Though Chester's gimpy wrist made for some strange movements on stage,
he was no less rock than before. The night ended acceptably with Faint from 2003's
Grammy nominated "Meteora".
I can admit when I'm wrong: I don't like to, but I'll give credit where
credit is due even if it kills me. I'd even admit The Veronicas had a
good song if they ever did. And tonight, ladies and gents, my
preconceptions of nu-metal kings were dashed to the rocks...I was
wrong, Linkin Park were brilliant.
You heard it here first.
Overall: 80%
Download Now:
Purchase CD:
|
