Chester Bennington & Mike Shinoda , 2008

 

 

Moderator: We’ll take the first question from Niyaz Pirani with Orange County Register.

N. Pirani: I was just wondering, as far as the tour is concerned, with Projekt Revolution it seemed very specific with Taking Back Sunday, My Chemical Romance, and now you have post hard core ban Chiodos and prog band Coheed. Why have these bands been chosen? I mean for me listening to Minutes to Midnight, I wouldn’t be able to pick a band that would be able to work with this kind of a tour. Although I think these are good choices for openers, why did you guys choose them?
C. Bennington: When we choose groups to tour with, we really look at a lot of different things, but mostly we look at the quality of the band. We feel that good music speaks for itself, and I don’t know about you guys, but if I go to the concert and every band sounds the same, it’s kind of makes for a really long day. So we do like to keep things fresh and keep things moving, and play with acts we haven’t played before.
M. Shinoda: This conference call is pretty funny. Chester, have you done one where it’s so organized?
C. Bennington: I didn’t know….
C. Bennington: I thought it was just going to be like a free for all with everybody talking at the same time.
M. Shinoda: That’s what I was hoping.

Moderator: We’ll take the next question from Vanessa Franco with Riverside Press Entertainment.
V. Franco:
I wonder if you could talk a little bit about the digital souvenir package that fans are going to have an opportunity to get on the tour.
C. Bennington: We would love to. The digital souvenir package is a brand new product, brand new thing that we’re offering on this tour. I don’t think anybody else has offered it or at least offered this type of thing in this way. You can basically opt in when you buy your tickets online for the digital souvenir package. What will happen after that is you go to the show, you watch your show, enjoy that, come home, and in your e-mail inbox you’ll have a link to the show, to the MP3s of our set from the show you went to. In other words, you get to take home the hopefully memorable concert that you went to.
And the best part about it to me is that our live mixer, our official mixer who mixes our show every night at the front of the house position, he finishes his night with us, then goes back to his hotel or bus or backstage and mixes the show for you. That’s what’s so important about this idea is that it’s not a straight board mix or a cell phone or video camera, which is what you usually get on YouTube. This is a mix done for CD, so it sounds good in your car, so it sounds good coming out of your iTunes and your stereo, into your stereo. It’s intended to be played in your headphones and in your car, and it’s done by our official guy.
M. Shinoda: Yes, and we also – that’s another thing that I think is really cool about it is we also encourage our fans, for those who get this thing, is we encourage them. Our sets change. We play songs maybe one night that we don’t play the next, and so if you want to get those songs, we encourage our fans to go on and trade them and kind of get to know each other. We really like the fact that, in the digital world, people who like the same things and want to be part of something can communicate and share and exchange things with each other. This is one of those things that we would really like our fans to kind of do that with.
C. Bennington: Plus, different shows, some shows are really special. Just the way that a certain song came off one night just really touches people sometimes. Those are the kind of MP3s that get passed around a lot.
M. Shinoda: Right.

 

Moderator: We go to the next question with Joe Shahowski with Atlantic City Weekly.
J. Shahowski:
Keeping along the lines of talking about the digital median, and you guys have always embraced technology. You’ve got a great Web site, interactive with the fans. A lot of groups, I don’t know if they resent it, but there’s the issue in the business of music fans now picking and choosing songs digitally, going digitally and not buying entire albums. I still love to buy entire albums.
But for a band like Linkin Park, which has so many different sides, so many different styles from ballads, top 40 ballads, to real hard stuff that you’re never going to hear unedited on the radio, do you think it’s an advantage for you guys that fans can go and pick and choose the music that they want?
C. Bennington: I think from my perspective, I personally still like to buy whole records. I enjoy kind of the journey, and especially for records put together well. It doesn’t bother you to listen to the whole thing. But I do think that there are a lot of different kinds of people out there, and some people, they may just want three tracks or something. If that’s an option that they want to have, they should have that option afforded to them.
There is a benefit when it comes to that kind of person who maybe likes the single, but doesn’t really know of the band and isn’t sure if they want to buy the whole record. It’s kind of a pro and con. It’s a double edge sword. For us, I think we have a lot of support from our fans, and so they tend to buy our records. Every time someone is introduced to the group in a new way, they can go buy the single. I hasn’t really affected us in a negative way by any means, so we’re always trying to figure out new ways of staying connected and bringing our full album package to our fans and giving them something special. That’s important to us, but we’re not going to turn our backs on other ways of selling music as well.

 

Moderator: We’ll take the next question from Victor Martinez with El Paso Times.
V. Martinez:
Last time you guys were here in El Paso, it was back in 2003. At that time, you guys provided about 600 free tickets, I believe, either 500 or 600 free tickets for military personnel and their families. Will you all do the same thing this time around?
C. Bennington: It’s a good idea. I don’t know if we – we haven’t figured it out yet. I think for each show, opportunities like that come up closer to the show date. Hopefully, but we’ll have to see. We’ll see as we get closer to the show.
M. Shinoda: Yes. I don’t know what the exact numbers are, but I know that we typically – a lot of shows we do have military people there, and we do give those tickets to them. We kind of figure it’s the least we can do.

 

Moderator: We’ll take the next question from Chris Riemenschneider with Minneapolis Star Tribune.
C. Riemenschneider:
You had a very public contract battle with Warner Brothers a couple years ago, and of course now people are wondering all the more if record companies are the thing of the past. Why did you stick with Warner Brothers, and how do you look back on all that now?
C. Bennington: I think that for me, with the Fort Minor record coming out before Minutes to Midnight, the concerns were – I think we voiced all our concerns back then. I don’t want to get back into it at all. But we worked things out and we came to kind of a common understanding or a mutual understanding of how we wanted our albums to be treated, how we wanted our fans to be treated. We kind of made up and we stuck with Warner.
Obviously they’ve done a great job on this record, which has – I guess we crossed the double platinum mark last year, and we actually crossed the 45 million mark with all of our catalog by the end of last year as well, the end of 2007 as well. I guess we should say kudos to Warner for doing a great job in making that or helping making that happen.
M. Shinoda: I think the second half of your question is, are labels a thing of the past, I think that there are a lot of positive things that labels provide artists. I do believe though that it’s very important for the old model of the record industry to be – you know there’s going to be times to kind of work it out of the future, the future of the music business. It’s that the business model is dying. I don’t think that the label side of things is dying. I think it’s just going to be rejuvenated with a new plan of action.
All the details of what that could possibly be, we’re kind of in this new frontier where it’s kind of like throwing ideas at the dartboard and seeing which ones stick. That’s kind of a really exciting place to be because the people who figure out the model that works the best, whether it’s a band or whether it’s a management group or whether it’s a record company, is really going to forge the future of how this business is run. I think when that happens a lot of the issues that have been kind of argued back and forth from the band to a label and vice versa, I think a lot of those things could be put to rest or at least improved upon. I think we’re in a very interesting and really special time in the music business right now. I think people really are used to just focusing on the kind of negative aspects of what’s going on and not really looking at how amazing the potential is for the future of this business.
C. Bennington: Just to clarify real quick on what I said. I don’t think I was clear, just in case anybody was going to print the numbers. The two million is two million U.S. Minutes to Midnight has done over four million worldwide. And the 45 million is all catalog worldwide.

 

Moderator: We’ll take the next question from Al Mancini with ABC News Radio.
A. Mancini:
Just getting back to the tour a little bit, you guys spent so much time on the road and people have so many opportunities to see you. How is this tour going to differ? How do you keep it different and keep it exciting for the fans?
M. Shinoda: We actually put a lot of attention on our live show this time around, ever since we kind of came out – ever since we came out of the studio, we were really excited about different ways we could keep the show fresh. Having so many songs now, we’re definitely no longer in the position that we used to be in with Hybrid Theory where, with Hybrid Theory, we had virtually 40 minutes of material, and we were asked to play headline sets, and we didn’t even have enough songs to fill one out.
Now we’ve got all these songs, and we can kind of pick and choose and fans want to hear different things at different times. It’s a pleasure to be able to get on stage and switch up the set every night. Not only that, but for the U.S. tour, and this kind of goes out to the people that have come and seen us play on Projekt Revolution, the production will be different. The set will look different.
As you may have heard from some of the – how the ticket sales are going, a number of shows are being sold to 360 degrees. That means that the stage is obviously set up for a 360-degree show. A number of venues, such as Staples Center, Madison Square Garden, they sold out to 270 degrees. It was 270, right, Chester?
C. Bennington: Something like that.
M. Shinoda: Yes. It was like 270, and then that sold out. Now we opened it up to 360, so it’s a great thing that the shows are selling out, and we’re able to open them up and play in the round.
C. Bennington: Yes. What’s great about that is the fact that one of the bonuses is that people will actually get to see what Joe Hahn is wearing on stage.
M. Shinoda: You usually can’t see him from the waist down.
C. Bennington: It’s been great to see the kind of things that Joe wears on stage from our perspective because you might actually get to watch him take a nap onstage sometimes. He lays down and takes a nap.
M. Shinoda: He’ll go on in little, colorful shorts.
C. Bennington: He’s got like a cool shirt on, and then he’s got like workout shorts and flip-flops on. It’s kind of like one of those things where the news anchor isn’t wearing any pants under the desk kind of thing. That could be pretty special for some really lucky people.
M. Shinoda: Hopefully we can talk him into a thong or just talk him out of his shorts.
C. Bennington: Nice.

 

Moderator: We’ll take the next question from Doug Pullen with Grand Rapids Press.
D. Pullen:
I’m from Michigan, and I was wondering about your interest in the band, Chiodos, how familiar you were with them going in and what your interest was in having them open the show.
M. Shinoda: We’re always kind of keeping our eyes on up and coming bands because we remember how important it was to us from our point of view when we were coming up. The bands that were open to touring with us were bands that were familiar with us. That always felt cool when a band kind of was a little bigger than you knew who you were, and that’s the reason why they wanted to tour with you. They listened to your music a little bit or had been paying attention to what you were doing.
It’s important for us to remember that there are other really great bands out there that people are kind of figuring out that they exist, and to be part of taking some of these groups out and exposing them to broad audiences is a gift that we can give right now. Chiodos is one of those groups that’s kind of making a lot of noise right now, and we felt that they would add to the bill. A lot of people aren’t going to know who they are, but there are going to be some hard-core kids out there that are fans of theirs that are really going to be excited that they’re on a bill like this with us and Coheed and Cambria. That’s fun to me, and I think that’s fun for the rest of the guys to kind of be able to do that.

 

Moderator: We’ll take the next question from Don Kaye with The Pulse of Radio.
D. Kaye:
I have a two-part question for you. The first part is you guys have really been involved in promoting awareness of climate change, especially in the last couple of tours. What are you doing on this tour in terms of extending what you’ve done before or maybe some new initiatives? And the second part of the question is, since this is an election year, is this something that you might kind of get involved with a little bit more politically, especially since the two sides have such different views on this issue?
M. Shinoda: As far as the Music For Relief stuff, we will be announcing hopefully more of our ideas for efforts that we can make on the tour. I know the Music For Relief booth will be up, as usual. The easiest way that fans can help out, we offer information there at the booth. Please, if you come to the show, go check that out. Buy a bandana. They’re only a couple bucks, and that goes towards the charity organization.
Music For Relief, just to give a quick overview of it, it started after the tsunami in South Asia. We started the organization at that point to help out with relief efforts. We continue those relief efforts through that and after the hurricane in New Orleans. We went down there after Katrina. We realized what a mess it was, and we tried to help out the best we could, raise money for that as well.
We then realized, as we were in the studio with Minutes to Midnight, that we could do things not just on the backend on the cleanup relief kind of end, but hopefully be proactive and combat global warning on other fronts, so we that we wouldn’t have to have as many, hopefully, catastrophes and be doing the kind of cleanup that we were already involved in.
We recently joined with Unite the United to assist in the recovery and reforesting of devastated areas in Southern California after the wild fires. That was the most recent thing that we did. I don’t know exactly what – we’ve already been talking. We talked just yesterday on a conference call to figure out what we’re going to do on this tour, so more information will come on that.
As far as the other part of your question about the election, we try and stay out of that. I think that our fans don’t need us preaching politics to them. They’re intelligent. They’ve got their own opinions, and they can make their own decisions. Obviously we encourage everybody to vote. We encourage everybody to go out and do their research on the candidates that interest them and make thoughtful, informed decisions.

 

Moderator: The next question is from freelance writer Alan Scully.
A. Scully:
One of the things that I wanted to touch on involves the music itself on Minutes to Midnight. You guys have talked about wanting to be a band that can’t be so easily categorized, one that you can’t pigeonhole. Certainly you guys had your share of people calling you new metal or rap rock earlier and all that. I guess I’m curious how you think Minutes to Midnight has helped get a little closer to that goal of not being able to be so easily categorized? I don’t know if you’ve already seen people changing their impressions of what they think your music is.
C. Bennington: From point of view, I think that Minutes to Midnight really, I think the most important part of that process in my eyes was really the fact that we kind of opened our minds up to writing music that just felt right. We went more towards how the songs themselves made us feel and how we responded to them rather than what we thought we should create, what we thought our fans would want us to make.
In doing that, we wrote a lot of different styles of songs, and we worked on a lot of songs that maybe were a little off the task for us. It really encouraged us and it opened our minds. Songs like In Between and In Pieces, and Little Things Give You Away, songs that probably we would have thought were cool, but we weren’t sure if we could pull them off. I think it opened up that door for us.
I think hat the longer that we’re around and the more music that we make, I think the more people kind of realize that we’re not just this band that’s going to kind of disappear or be part of a specific trend or a fad, which was kind of where we did get kind of put into that circle of new metal, which was kind of like you know it came and went, but you guys are still here. How much longer do you think you’ll stick around because no one listens to that kind of music anymore? It’s like our response has always been, we’re not that. We write music that we want to hear, and if that means putting a jungle beat with a saxophone is what we want to hear, then we’re going to write that. Whether that makes a record or not doesn’t matter, but that’s what we’re going to write.
I think people are opening up to that idea that we are a band that’s not afraid of extending ourselves and spreading our wings and pushing the boundaries of what is acceptable for us. Our fans, they stick with us through this process, and it’s pretty awesome. It’s a really special kind of thing to see that our fans enjoy the music that we make, regardless of what style it is. I think that’s something that they appreciate.
M. Shinoda: We never felt, I mean, just to echo some of Chester’s sentiments, we never felt like we belonged in that category, that new metal, rap rock category. Not because, obviously if you look back on Hybrid Theory, there was rap and there’s rock in it. But it just felt like a lazy category that people were putting that name on us because they couldn’t come up with anything that was better or they just kind of felt like lumping everybody together because they were kind of the same.
But I think for us, from our perspective, there were more differences than there were similarities. And the longer we – the more albums we make, the more chances we get to kind of highlight those differences between us and the things that people thought we were in the beginning. At this point, we’re just making, like Chester said, we’re just making whatever sounds good to us. I think the big challenge or the big question that was posed at the beginning of the Minutes to Midnight studio sessions was are we going to change—
Are we going to change the sound so much that people are going to think we’ve gone off the deep end, it’s weird, it’s too different, and they’re not going to like it. Well, what ended up happening, it’s easy to look back at it now and say, yes, of course. It was a hit and everybody loves it. But it’s not – if you look back to the day before we turned it in, the day we finished it, we were pretty nervous because who knows if the fans had grown up in the same direction that we had.
We went underground and we worked on this record, and we popped up somewhere that was different from where everybody else ended up. Luckily, I guess, that was not the case.

 

Moderator: Our next question is from Walter Tunis with The Lexington Herald.
W. Tunis:
Kind of picking up on that thought a little bit, I wanted to ask if you could contrast just what the group spirit or group mood was going into the recording of Minutes to Midnight, realizing you had just come out of what was a fairly tumultuous time with Warner’s and heading into an adventure working with Rick Ruben and new sound possibilities. And contrasting that to where the group stands now, having the album out for eight months and doing a considerable amount of touring behind it.
C. Bennington: I think where we were at was we were really hungry to make a record. We had taken – as much as the band within ourselves, we talk about how much time we like to be with our families and take off. It’s important for us to kind of have a balance. I think for us, the reality is that if we take even a week longer than expected, it becomes uncomfortable.
We enjoy what we do. As much as a vacation sounds good or taking time to work through some issues, like we had with Warner Brothers, it was like that was necessary, but it was also difficult for us. Once we got ready to make the record, we were very ready to make a record. When we started talking about producers, we knew in our hearts that we wanted to make a record that was going to be a turning point for us and kind of revamping the band creatively and intellectually and all that kind of stuff.
Rick Ruben is a master of that, and he kind of has a similar philosophy to producing music that we have in making music, which is he produces music kind of based on personal taste. We write music based on our personal taste. That’s kind of how we decide which songs are good and which songs are just okay or whatever.
We got together. Rick was very vocal about if he was going to work with us that he didn’t want to make a record with us that sounded like Hybrid Theory or Meteora. He wanted to kind of push us to our most creative potential and see what we could do.
M. Shinoda: If I could just interject real quick, that was one of the things that was so appealing to most of us about sitting down with Rick for the first time because, Chester, if you recall, like when we sat down with him, he didn’t say that right off the bat. He asked us what kind of record do you want to make. All six of us were like pretty much something totally different. He was like, good because that’s what I was thinking. If that wasn’t the answer, then maybe we wouldn’t be seeing eye-to-eye. But since we all are, then let’s get into this.
C. Bennington: Right. It was really – and given that, and knowing that we had a person who could steer the ship, so to speak, we had Rick Ruben on our side. We had a lot of records sold behind us that we kind of knew that we were in a special position. This was our chance; this was our time to make that happen. We saw the moment, and we seized it.
Because the stars and planets kind of aligned, and given our success in the past and given the fat that we were working with Rick Ruben, who is very artist friendly, kind of understands the creative process. His philosophy is the record is not done until it’s great kind of thing. We afforded ourselves to sit back and write the 100-bazillion songs that we wrote for this record, and take the time to – there was a lot of good music in there. We were like, it’s good, but could we do better. We tried. We went and did it. We took the time, and we exhausted every avenue. We blazed new paths and tried new things. It was great. It was a great experience, and I think Minutes to Midnight speaks for itself because of that.

 

Moderator: Our next question is from Scott Iwasaki with Deseret Morning News.
S. Iwasaki:
Thanks, guys, for doing this with us. Anyway, kind of on the same lines, more or less, how was working with other artists such as DJ Lethal or Jay-Z, Depeche Mode, things like that collaborations? How did that aid you guys in your creative process in making Minutes to Midnight?
M. Shinoda: Chester, do you want to talk about that?
C. Bennington: For us, we have a lot of influences, and there are a lot of bands that we admire. There are a lot of artists that we feel are really cool. We’ve had a chance to work with a lot of artists in our pretty short time that we’ve been around.
I think it’s important, especially when you work with guys like Jay-Z. I think musically it was like, okay, this is awesome. But then you get to see how a different creative person works, and when you see someone like Jay-Z, for example, who has this really unearthly kind of talent that defies logic, it doesn’t make any sense. It’s fun to watch that kind of stuff, and it’s inspiring to see someone go, roll a beat, and come up with lyrics off the top of their head for five minutes that make sense, that are cohesive, that are enlightening or just really funny all at the same time. Then kind of have us all in shock and then say, now delete it. That was my little gift for you guys.
It was like, okay, that just happened. He just went through that and we’re the only ones that get to do that. Hopefully other artists, when they work with us, they kind of feel the same thing when they’re working with us that we have those kinds of talents too. Hopefully we inspire them as well.
It’s fun. It’s also great to be spontaneous. We don’t have – okay, two years from now we’ll be performing with Jay-Z and then doing a Grammy performance with him and Paul McCartney. It was like … kind of happen and, for us, we’ve hit the lottery almost on every single one of these things. It’s fun. It’s one of those little benefits of what we do that we take advantage of.
M. Shinoda: One thing that I would like to address as far as you asked how it played into the studio experience on Minutes to Midnight. Like Chester said, we worked with a lot of different artists. One of the benefits for all of us, but I’ll just speak for myself, just as a producer, I really loved seeing how other people work because, from Reanimation, I mean really from Hybrid Theory, but then onto Reanimation, projects like the Collision Course project with Jay-Z, the Fort Minor record that I did, I included a lot of different people that I had run into a long the way and become friends with.
Each time I get in the studio with somebody, they’ve got a different MO. They’ve got a different style and different little tricks and techniques and maybe equipment, gear that they use that I haven’t tried out before. All that stuff keeps it really fresh. At this point in the game, for us, having been a band and been playing and writing music together for ten years, a large part of the puzzle for us at this point is finding ways to make it new and interesting.
Each time we get to do that with somebody, it’s just so much fun and it breathes new life into the project. So getting into the studio with Minutes to Midnight and doing that for a year and a half, just every day you come into the studio it’s like we can do some more of the new thing that we did yesterday, or we can try something brand new. What do you say we rent a marimba and a xylophone and an electric banjo and screw around with those today. We are at the point, as far as the label is concerned, the time they’ll allow us to work on a record, financially we can afford to go do those things. I mean we are very blessed to be able to do these things, and we try and take full advantage of that of being in a situation. Really don’t take it for granted, and really when we get in the studio, be creative.
C. Bennington: There’s a guy in a Honda Accord that’s driving next to me staring at me and revving his engine like he wants to race.

Moderator: Ladies and gentlemen, do to time constraints, we’ll take the last question from Mr. Joe Shahowski with Atlantic City Weekly.
J. Shahowski:
Just real quick, being that you’ve been together for ten years as a band, I was just wondering about the songwriting process, how you guys put songs together has evolved. Has it changed much in terms of weight? I know you guys both take care of the lyrics, but has it changed much in terms of how things come together?
M. Shinoda: It’s a very complicated answer. I’ll try and give you the most concise version I can. When we first started the band, it was in the very, very beginning when we were doing demos as an unsigned band called Xero. It was Brad and I and a friend of ours named Mark. We would write the stuff, and then we brought in the other guys. Chester was not part of the band at that time. Then we would write the stuff, and everybody else would kind of learn it and kind of embellish on it and make it better.
That led into the version of Linkin Park that once Chester joined the band, Mark left the band – excuse me, when Mark left the band, Chester joined the band, and then we were doing – Brad and I would write most of the music. Chester and I would write all the lyrics and melodies. That was basically how we did things up until Meteora or Collision Course.
I shouldn’t say that the other guys were not involved, but the majority of the writing was falling on Brad and I as far as the music goes, and Chester and I did all the lyrics. That was not – I think in all of our minds, that was working, but it wasn’t as fun as it could be. The other guys were kind of feeling like they’d get something that was already kind of written or whatever. They’d give their input. They’d work on making it better, but they weren’t as involved as they could be.
On this record, we made a huge effort to really involve everybody, and it was six votes. For any part of any song, you had six guys writing. You had six guys voting, and every vote counted. If one person said, you know I really don’t like that part, then that part was in question. It didn’t matter if it was five to one. That part was in question. That’s just kind of how we learned to do things on this record, and for better or worse, it make us – I think we enjoyed it much more.
C. Bennington: It was actually really fun to kind of – every week or every other week or so, depending on how much music we were working on at that one time, it was kind of fun to walk in and go, dude, check this out. Last week it was me and Mike working together, and this week it’s me and Dave. Check out what we did to this song and check out this new idea, or listen to this pile of crap I wrote.
M. Shinoda: We got demos that sounded like anything, everything. There was stuff that sounded like Public Enemy. There was stuff that sounded like ‘80s R&B pop songs. There was stuff that sounded like Johnny Cash. There was stuff that sounded like old Anthrax. I’m not – this isn’t – it’s not an exaggeration at all.
C. Bennington: We even had some stuff that was considered by some of the other members in the band as it sounds like it could have been on the Little Mermaid soundtrack.
M. Shinoda: No. It wasn’t Mermaid, it was Mulan. Two of the guys were like, this song sounds like it’s from the movie Mulan. I hate it. But the other four of us loved it. But I mean, you know. I think that part of the chemistry and part of the magic for us in our band is the combination of the opinions and the stylistic – I don’t know – just the likes and dislikes of each of the six members and how different those can be. But when they overlap, when all six members’ likes overlap, that’s when something belongs on the record.
C. Bennington: We call it magic sauce.
M. Shinoda: Is there anything else we should say about the tour before we get off the call, Chester? Are we…? We’re done.
C. Bennington: Our tour rocks.
M. Shinoda: We are … I think we’re good.
C. Bennington: I think the most important thing to say about this tour is that none of the bands suck, and I think it’s going to be really exciting for us to get back into arenas. It feels like we haven’t played arenas on this tour for some reason, other than outside the U.S. So it’s going to be fun for us to get back into arena and really take advantage of our production elements and the sound quality that that brings and performing new shows in a lot of these places for the first time in the round.
M. Shinoda: And we’re playing a lot of these venues for the first time in many years. I can’t remember the last – the first show is in Omaha, and I can’t remember the last time we played in Omaha. It was like three years ago, maybe four years ago.
C. Bennington: Yes.
M. Shinoda: also, there are a bunch of firsts on the tour, and that is the Madison Square Garden and Staples Center shows. Those are the first times we’ve played those venues, and those are very prestigious venues. We’re really excited to be playing there.
C. Bennington: We are also – speaking of firsts, there are a few songs that we have never played before on this tour.
M. Shinoda: Don’t tell them which ones, though.
C. Bennington: I’m not going to tell you which ones, but there are going to be some tracks we’ve never played before live, as well as bringing some of the good oldies back….
M. Shinoda: Yes. Some fan favorites are coming back as well, so that’s it for us.

make it sound as if it was all written as one song and I love the record, though I may be biased.

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