Linkin Park’s Soundwave sideshow and Living Things tour leg proved why they have remained such a popular outfit for over a decade.

Their performance followed an energetic and passionate support slot from Iowa alt-metal group Stone Sour.

The Sour’s atmospheric sound, twanging guitars and the voice of raspy crooning frontman Corey Taylor resonated through the stadium, warming up an already appreciative and robust crowd.

When it was time for Linkin Park to hit the stage, the house lights dropped to reveal spectacular visuals on the big screen and light displays to the backing of fast beats and an anticipatory piano riff.

This was a fittingly dramatic introduction to a group that has received 52 awards (including two Grammys), released five studio albums, and performed all over the world to their massive fan base.

When the group members finally appeared on stage they made it through songs quickly, performing “Faint,” “Papercut” and then “Given Up” in quick succession.

This high-energy opening, that sampled several albums, had already incorporated heavy metal, rap, turntablism, beats and piano – evidence of how Linkin Park have mastered genre-bending not only through their back catalogue but also within each individual song.

As expected, 2012 release Living Things predominated, but so much was packed into the set that there was enough to keep all fans entertained.

An important driver of the group’s success is the dynamic between seasoned performers and vocalists Chester Bennington and Mike Shinoda.

The wiry Bennington manages the nasal, tuneful screams, while Shinoda is resident rapper and sings in warm undercurrents. The duo have honed a balance in musical composition, and also as performers, working the stage with endless energy, recognising all corners of their audience.

Things took off with “Somewhere I Belong” and it possessed a great sense of lift and momentum – a sensation that explains why they have made it onto so many movie soundtracks and video games.

Chaos reigned for the frenetic and tribal “Victimised,” a multi-layered song that features the call-and-response of the two vocalists, Bennington screeching “victimised, victimised / never again, victimised!”

There was even room for a pop orientation on the brighter “Waiting For The End,” from A Thousand Suns, though still preserving a darkness in the lyrics.

Their latest single “Castle of Glass,” also had a folk aesthetic, band members standing side by side in a kind of ‘brothers in arms’ positioning at the front of the stage.

Three quarters of the way through, there was a musical ‘breather’ with Shinoda alone on the stage, elevated on the steps and playing the keyboard for a stripped back intro to “Leave Out All The Rest.”

The appreciative crowd waved lighters, mobile phones (or both in lighter apps) in the air, until the rest of the band joined in for an overall heartfelt number.

Even with a set comprising 20 songs and spanning two hours, Linkin Park continued momentum throughout, varying their tunes and carefully interspersing classics like “Numb” and “What I’ve Done” throughout to spark nostalgia in the audience.

When the group departed at the end of the main set, the stage was left in darkness but for lights flashing and noise whirling around the arena. The adoring crowd chanted “Linkin Park! Linkin Park!” and sending a Mexican wave around the upper floors.

Eventually the group returned for a three-song encore. At one stage, they offered the audience a choice between “A Place In My Head” and “In The End.” Using the somewhat inaccurate method of votes based on strength of cheers, a decision was made.

While to the crowd, “In The End” seemed the more popular option, Linkin Park selected “A Place In My Head,” and judging by the resultant booing, moods were soured slightly in the final moments of the concert.

Nonetheless, the show had been an action-packed one, filled with an extremely broad spectrum of sound and visible enjoyment from both artists and audience.

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