Linkin Park, a band that emerged from the polarizing nu-metal boom at the turn of the century, has defied expectations, quietly amassing head-spinning statistics that firmly establish their place among music’s most successful acts. Despite critical neglect of their genre and its perceived anachronism, the band spent nearly two decades as a massive, yet often understated, force in the music industry, securing a diamond-certified debut album and becoming one of the 21st century’s top sellers.
The return of Linkin Park to the live stage, particularly at venues like TD Garden, carried significant weight, following a period of understandable quiet after the tragic passing of beloved vocalist Chester Bennington in 2017. Their re-emergence in September with Emily Armstrong, from Dead Sara, as their new singer was a bold and keenly watched move, marking a pivotal moment for the iconic rock band and its dedicated fanbase eager for a return to live music review experiences.
Emily Armstrong’s task was undeniably formidable. The list of established bands that have successfully replaced a male lead singer with a female one, especially in the heavy rock genre and at their level of global success, is exceptionally short. Less than a year into her tenure, every live performance is a crucial proving ground, with each concert review serving as many fans’ initial impression of her ability to honor the band’s legacy while forging its future.
At the TD Garden, Linkin Park ensured an intimate yet grand experience, setting up the stage centrally on the arena floor. This innovative setup minimized the vastness of the venue, allowing the band to engage with the audience from every direction and providing an up-close perspective of Armstrong’s integration into the group dynamic. The precision with which the stage rotated mid-show further underscored their commitment to a comprehensive concert experience.
From the opening notes of “Somewhere I Belong,” Armstrong quickly settled into a compelling dynamic with vocalist and multi-instrumentalist Mike Shinoda. Shinoda’s conversational raps provided a familiar anchor, while Armstrong skillfully wove in counterpoint vocals before unleashing her distinct, tuneful wail on the choruses. Her respectful approach, never overtly taking on the role of sole frontperson, allowed Shinoda to maintain his connection with the crowd, demonstrating a seamless transition in the Linkin Park vocal performance.
Armstrong’s prowess was repeatedly affirmed throughout the evening, showcasing a remarkable vocal range and control. Whether delivering a piercing shriek in the snarling “Two Faced” or asserting herself with more subdued tones in “Castle Of Glass,” she navigated the band’s diverse soundscape with ease. Her willingness to cede portions of songs, like “Crawling,” to the audience underscored her humility and connection, proving her capability to both drive the live performance and share the stage authentically.
Crucially, Emily Armstrong ensured that the essence of Linkin Park remained intact. The concert was replete with the signature buzzing grinds and fast, kicky bounces that defined their sound, yet also offered nuanced instrumentation and emotional depth in tracks like “In The End” and the heartfelt “Waiting For The End.” Her chant in “The Catalyst,” coupled with Colin Brittain’s urgent drumming, brought a surprising lightness to the heavy anthem, further solidifying her integral role in the band’s evolution.
Mike Shinoda, as a joyful host, engaged the Boston crowd with a charming “Linkin Pahk,” his amiably awkward raps, though perhaps the most dated aspect, leaning heavily towards the “amiable.” The band concluded with the energetic and energizing “Bleed It Out,” a triumphant cry that signaled a new chapter. The new Linkin Park, with Emily Armstrong at its core, had unequivocally earned its place, standing shoulder to shoulder with the legacy of the old one, providing a powerful music review of their enduring appeal.
