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Home » 🔥 “IT’S GOOD TO SEE YOU AGAIN” — TWO YEARS SINCE LINKIN PARK’S LEGENDARY RETURN 🤘

🔥 “IT’S GOOD TO SEE YOU AGAIN” — TWO YEARS SINCE LINKIN PARK’S LEGENDARY RETURN 🤘

Michael by Michael
6 September 2026
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Two years ago, millions of Linkin Park fans were staring at their screens with absolutely no idea what was about to happen.

Rumours had been flying. Mysterious countdowns had appeared. Social media was melting faster than a Greggs sausage roll left on the dashboard in July. Then, on 5 September 2024, the lights dropped inside a Warner Bros. sound stage in Burbank, California.

A familiar silhouette appeared.

Mike Shinoda stepped towards the microphone, looked into the crowd and delivered five simple words:

“It’s good to see you again.”

That was it. Goosebumps everywhere. Linkin Park were back. 🔥

🎤 A MOMENT THAT STOPPED THE ROCK WORLD

The specially invited audience inside the venue erupted, while fans watching the global livestream collectively lost their minds from bedrooms, living rooms, workplaces and probably a few pub toilets across the planet.

After seven years without a full Linkin Park performance, hearing Mike’s voice and seeing the band standing beneath those lights felt enormous.

It wasn’t a flashy entrance packed with fireworks, confetti cannons or someone dropping from the ceiling dressed as a robot. It didn’t need any of that.

The emotion did all the heavy lifting.

Within seconds, the unmistakable electronics, guitars and pulse of Linkin Park began rumbling through the sound stage. The band launched directly into the live debut of The Emptiness Machine, introducing the world to a completely new chapter.

🤘 ENTER EMILY ARMSTRONG

The performance also revealed Dead Sara vocalist Emily Armstrong as Linkin Park’s new co-vocalist.

Mike Shinoda opened The Emptiness Machine before Armstrong stepped forward and unleashed the huge, gritty voice that would become one of the defining sounds of the band’s new era.

It was never going to be an easy position.

Chester Bennington wasn’t simply a singer who could be swapped out like a dodgy microphone cable. He was one of the most distinctive and emotionally powerful vocalists in modern rock history. His voice, personality and legacy remain inseparable from Linkin Park’s story.

Thankfully, the band didn’t present Armstrong as a Chester impersonator or replacement. She arrived with her own voice, her own style and the extremely difficult task of helping Linkin Park move forward without pretending the past hadn’t happened.

That distinction mattered.

This wasn’t about erasing Chester. It was about allowing the remaining members to create, perform and reconnect with the music that had shaped millions of lives.

🥁 A NEW FACE BEHIND THE KIT

The livestream also introduced songwriter and producer Colin Brittain as the band’s new drummer following Rob Bourdon’s departure.

He joined returning members Mike Shinoda, Joe Hahn and Dave “Phoenix” Farrell, while Alex Feder performed on guitar in place of Brad Delson, who remained part of the band but stepped away from touring.

It was a familiar machine fitted with several new components — and when everything kicked into gear, it still sounded unmistakably like Linkin Park.

🎶 THE CLASSICS RETURN

After The Emptiness Machine had detonated, the band charged into Somewhere I Belong, and suddenly the full weight of the comeback hit home.

Those opening notes weren’t merely another song beginning. They were a door reopening.

The set continued with an emotional selection of Linkin Park favourites, including:

  • Somewhere I Belong
  • Crawling
  • Lying From You
  • The Catalyst
  • Waiting for the End
  • Numb
  • One Step Closer
  • Lost
  • What I’ve Done
  • In the End
  • Faint
  • Papercut
  • Bleed It Out

During the introductions before Crawling, Mike told the audience that they would collectively take Chester’s role.

It was a powerful acknowledgement of the man who had stood at the centre of those songs, while recognising the fans who had carried his words with them for years.

You could practically feel the emotion travelling through the screen, mun.

💿 FROM ZERO — A NEW BEGINNING

That night wasn’t only about returning to the stage.

Linkin Park announced their eighth studio album, From Zero, which would arrive on 15 November 2024. Its title carried two meanings: a reference to the band’s original name, Xero, and a statement about beginning again.

It was the past, present and future of Linkin Park colliding in one phrase.

A new album was coming. A world tour had been confirmed. A new line-up had been revealed. After years of uncertainty, Linkin Park were moving again.

Not backwards. Not as a tribute act to themselves. Forward.

❤️ CHESTER’S PRESENCE WAS STILL THERE

Any Linkin Park comeback was always going to carry sadness alongside the excitement.

Chester Bennington’s absence could be felt throughout the livestream — particularly during Crawling, Numb and In the End. These are songs permanently connected to his voice and the raw honesty he brought to every performance.

But honouring someone’s legacy doesn’t always mean freezing everything at the moment they left.

Sometimes it means carrying their work forward, allowing new audiences to discover it and keeping the community built around that music alive.

Chester will always be part of Linkin Park. Nothing about the band’s new era changes what he created, what he meant to fans or the enormous impact his voice continues to have.

⚡ TWO YEARS LATER, IT STILL HITS HARD

Rewatching that entrance two years later, Mike’s words somehow feel even bigger.

“It’s good to see you again.”

No grand speech. No corporate waffle. Just a musician greeting a community that had been waiting years to hear from the band again.

What followed was one of the most talked-about rock comebacks of the decade. From The Emptiness Machine and the release of From Zero to arenas packed with fans singing every word, Linkin Park proved there was still another chapter waiting to be written.

The comeback divided opinion, started arguments and generated enough online debate to power half of Wales — but it also returned one of modern rock’s most important bands to the stage.

And whatever your feelings about the new era, that first entrance was unforgettable.

The lights. The tension. Mike at the microphone. That first explosion of sound.

For millions of Linkin Park fans, it was the moment they realised the story wasn’t over.

👀 WERE YOU WATCHING?

Were you tuned into the livestream when Linkin Park made their return? What went through your mind when Mike Shinoda appeared and said those five words?

Let us know — because two years later, we’re still getting bloody goosebumps. 🤘🔥

Proudly Welsh. Proudly Loud. Zero Apologies.

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Michael

Michael

🎸 About Michael Michael is the founder, editor and chief riff wrangler of The Riff Report, an independent Welsh rock, metal and alternative music publication built by fans, for fans. A lifelong rock and metal fan, Michael has spent years immersed in the music, culture and community that surround the heavier side of life. From discovering new bands and digging through classic albums to standing in muddy festival fields, squeezing into packed venues and spending far too much time near the front of a stage, music has always been much more than background noise — it is a massive part of who he is. That passion eventually became The Riff Report, a publication created to celebrate the bands, artists, venues, festivals, photographers, promoters and fans who keep the rock and metal world turning. Michael spends much of the year covering gigs, festivals, tours, album releases, new singles, interviews and music news, with a camera never too far away and a press pass usually hanging somewhere around his neck. Whether it is a huge arena show, a major outdoor festival or a tiny grassroots venue packed with people discovering their new favourite band, he believes every part of the scene has stories worth telling. For Michael, one of the biggest joys of music journalism is being able to shine a light on artists at every level. The Riff Report is just as interested in the hungry independent band playing to 50 people as it is in the global act headlining to 50,000. Supporting unsigned, independent and grassroots musicians is a huge part of the publication’s identity, because every legendary band started somewhere. Sometimes the next big thing is not on a massive billboard or a major-label playlist — sometimes they are crammed onto a tiny stage in a pub, plugging in their own gear and hoping somebody in the room remembers their name. Michael wants The Riff Report to be one of the places that remembers.

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