jesse & joy cliches tour setlist

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Jesse & Joy Cliches Tour

DATE:  March 23, 2022  •  TIME:  7:30 pm

Tickets: $45 to $129 

The band will be releasing their 6th studio album in the first half 2022. The album finds Jesse & Joy exploring uncharted territory by joining forces with rising producer Fede Vindver (Coldplay, Kanye West). The dynamic led to a new approach to the recording process, resulting in a cohesive body of work that showcases beautifully crafted songs with a refreshed sound, all while maintaining the essence of what makes Jesse & Joy one of the most distinctive and critically acclaimed bands of their generation. Don’t miss Jesse & Joy with Special Guests Little Jesus and Chule on March 23rd at the Copernicus Center.

Jesse & Joy Cliches Tour will also include special guests Little Jesus and Chule.

Jesse & Jot Links :  Website   •   Facebook   •  Instagram    •   Twitter

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Jesse & Joy - Cliches Tour

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All Setlists

• All setlist songs  ( 230 )

Years on tour

• 2024  ( 12 )
• 2023  ( 20 )
• 2022  ( 24 )
• 2020  ( 3 )
• 2019  ( 11 )
• 2018  ( 18 )
• 2017  ( 23 )
• 2016  ( 48 )
• 2015  ( 3 )
• 2014  ( 6 )
• 2013  ( 16 )
• 2012  ( 15 )
• 2011  ( 2 )
• 2010  ( 5 )
• 2009  ( 5 )
• 2008  ( 8 )
• 2007  ( 9 )
• 2006  ( 2 )

Show all tours

• Clichés Tour  ( 22 )
• Jesse & Joy Summer Tour 2023  ( 2 )
• Un Besito Más Tour  ( 53 )
• Y La Historia Continúa Tour  ( 1 )
• ¿Con Quién Se Queda el Perro?  ( 11 )
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Jesse & Joy Albums by tour: Cliches Tour 2022

• Sep 11, 2024
• Sep 10, 2024
• Sep 9, 2024
• Sep 8, 2024
• Sep 7, 2024
• Sep 6, 2024
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Linkin Park Rises From the Ashes With Dark Songs, a Joyful Attitude and a New Singer Who Does Primal Scream Therapy Proud: Concert Review

By Chris Willman

Chris Willman

Senior Music Writer and Chief Music Critic

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Sometimes, when a woman is very unexpectedly put at the top of the ticket, things very unexpectedly go right.

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But the reconstituted and reconfigured group passed a serious test Wednesday night at the Kia Forum , powering through two hours’ worth of legacy material, with Mike Shinoda vigorously fulfilling his co-frontman duties and Armstrong stepping into the newly created role of co-frontwoman. Whatever controversies have been attendant with this all-important new addition — and there have been multiple headlines to make it clear not everyone is on board with her — when it comes to the actual matter of the music, you would’ve been hard-pressed to find a soul in the galvanized Forum crowd who would have told you this risky gambit wasn’t paying off.

You didn’t even necessarily have to be a committed fan of Linkin Park to join in the celebratory, often downright joyful feeling inside the building. You just had to be a fan of phoenixes.

We’re finally getting a roughly comparable example of that with Armstrong’s infusion into Linkin Park, and there are reasons why this is a more suitable match than anything Van Halen could have probably done anyway. For starters, Bennington’s whole persona was essentially emo, not macho, so it’s not as if a woman assuming his duties feels like playing so much like playing against type. If you’re more than the most casual fan of Linkin Park, chances are that you likely sit in that intersection of music fans who want to be slammed against the wall by power chords but also sit deep in your feelings … as Bennington did to an ultimately tragic extent. You could say that that’s one reason why “the part” almost begs to be played by a woman, although of course the best reason is going in an obviously different enough direction to disinvite the direct comparisons that still make it tough for some to sit with the men that now front other bands that are still carrying on after facing the same situation, like Alice in Chains, Stone Temple Pilots and Sublime.

So the question with Armstrong was, while bringing an innately different presence, could she fulfill dual roles that Bennington brought to the band in performance — as alternately a singer and a shredder? She can, and then some, most obviously in the songs that call upon the latter. Armstrong is, to borrow a term from a different medium, a scream queen. And if you have a taste for that as a vocal talent, there were many, many moments in Thursday’s Forum show that were thrilling to behold, even as they made you wonder what kind of vocal coach Armstrong has that has assured her she can get away with doing that to her vocal cords over the course of tours to come. That’s her problem (if it is one; let’s hope not), but for as long as she’s got that magnificently ravaged rasp within her, it’s to our benefit.

Does she do it exactly the way Bennington did, in tone as well as sheer force? Of course not — there was a soulfulness to his loudest, angriest and most anguished moments that was partly his unique range, and partly a function of him as lyricist. But there’s something about her ferocity in those most howling moments at the Forum that made her seem like an actual punk singer. I do mean it as a compliment. It’s hard to know what Bennington would think of Armstrong as a raging interpreter, but I think he’d be proud. Arthur Janov might be even prouder.

If there was one thing that didn’t yet feel completely settled in Armstrong’s performance, it was the inevitable conflict between how much to be an alpha female in that leading role and how much to have a deferential presence when she wasn’t howling. It’s understandable that she would want to go light on the cockiness, as the new stepmom that’s been drafted into the family. There’s a reason why, at every Queen + Adam Lambert performance, the singer gives a short speech about how he doesn’t try to fill Freddie Mercury’s shoes; humility is a default position in this situation. And she did have an easy rapport with Shinoda, who did most of the talking, as the one who’s going to explore shared history with the audience, and try to make them feel that this new family dynamic is going to be OK — not that the Forum crowd seemed to need any persuading in that regard.

As much as the introduction of Armstrong is the most intriguing element here, there’s no mistaking that it’s only partly about her, and that it was just as interesting to focus on the glee that Shinoda and the other returning members were clearly feeling at being back in business after leaving the franchise dormant for seven uncertain years. Shinoda was always the good cop to Bennington’s… well, not bad cop, certainly, but let’s say tortured cop. This isn’t to say that there aren’t any shadows on his side of the street, or that his half of the music is depthless, but his combination of rapping and singing always added a sort of propulsive approachability to Linkin Park, when Bennington’s unleavened passion — and, frankly, depression — might have been harder to take. This band is his baby, too, and there was something about his presence at the Forum show that came off almost as surprised to be happy. A fan base that had waited in the wings for the last seven years knew exactly how that felt.

Wednesday’s L.A.-area show was the first of six Linkin Park is doing as a super-brief introductory arena tour this year, to be followed by just one other U.S. show on Sept. 16 at New York’s Barclays Center, at New York’s Barclays Center on Sept. 16, followed by dates in Germany, the U.K., South Korea and Colombia. A full tour will follow in 2025, and the band indicated in a Billboard cover story that they’re looking at stadiums for that run.

Can a band that has lost its most magnetic presence return, and sustain, that big? It’s possible that the ecstasy generated among the crowd at the Forum was part of a bubble, just as it’s possible that the surge for Kamala Harris is its own bubble. (Sorry, I said I wouldn’t go back there, and then I did.) Maybe the controversies over this renewal will prove too much for a portion of the old fan base Linkin Park needs to maintain. Maybe factions will object to what they’re hearing about the new singer’s religious affiliations, or about her past associations with one of that religion’s disgraced adherents (though she issued a statement disassociating herself, once that angle started to blow up). Maybe some just won’t want to hear a woman in that role. Some have already expressed the notion that it’s wrong for the band to carry on with any “fill-in.” And, sure, perhaps the new album could suck.

It’s not our place to address every single one of those issues here. But when it comes to the core issue of whether to carry on with different members taking on the duties of keeping repertoire alive, or to let sleeping bands lie… given the choice between preciousness and music , isn’t it always advisable to pick the latter?

And there’s something transformative that has happened with Linkin Park’s music after a seven-year interval. Perhaps the biggest danger in the band coming back was whether touring these old songs by Bennington (on top of Shinoda’s contributions, obviously) would feel like Clinical Depression Cosplay… happy campers at play replicating some of the most relentlessly despondent songs ever committed to record.

I’m relieved to say it didn’t feel that way at the Forum. There’s ongoing catharsis in the powerful expression of this sometimes personally agonized material, whoever wrote all of it, as the sing-and scream-alongs would indicate. Armstrong is able to convey this material with a roar that doesn’t undercut its essential seriousness at all… even as the band is clearly ebullient in the moments when exultation feels like a natural response to this revitalization. At the risk of using memorial-service cliches, this feels like a celebration of life — of Bennington’s, yes, but also of everyone else in the band who deserves a chance to carry on and thrive. And to make 17,000 people a night (or maybe 60,000 a night, next year) very pleased to still be on the planet.

Setlist for Linkin Park at the Kia Forum in Inglewood, Calif., Sept. 11, 2024:

Somewhere I Belong Crawling Lying From You Points of Authority New Divide The Emptiness Machine The Catalyst Burn It Down Waiting for the End Castle of Glass Joe Hahn Solo When They Come for Me/Remember the Name Lost in the Echo Given Up One Step Closer Lost Breaking the Habit What I’ve Done Leave Out All the Rest My December Friendly Fire Numb In the End Faint Papercut Keys to the Kingdom Bleed It Out

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