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Rolling Stone News
  • Linkin Park officially canceled their upcoming tour in the wake of the death of their singer Chester Bennington.

    "We are incredibly saddened to hear about the passing of Chester Bennington," Live Nation, the tour's promoter, said in a statement Friday. "The Linkin Park One More Light North American Tour has been canceled and refunds are available at point of purchase. Our thoughts go out to all those affected."

    The band has not released an official statement following Bennington's death by suicide Thursday.

    Linkin Park, who recently wrapped a European tour, were scheduled to begin a North American leg in support of their chart-topping new LP One More Light starting June 27th in Mansfield, Massachusetts. The North American trek was scheduled to conclude October 22nd with a concert at Los Angeles' Staples Center.

    Along the way, Linkin Park were set to perform two more dates on their co-headlining tour with Blink-182, the "Welcome to Blinkin Park" tour, on July 28th in Flushing, New York and July 30th in Hershey, Pennsylvania. Those two shows appear to remain on schedule but without Linkin Park.

    On Twitter, Blink-182 drummer Travis Barker paid tribute to Bennington in a pair of tweets.

    "Absolutely heartbroken. I'll cherish every time we hung out or rocked a stage together. Condolences & prayers to all. So sad," Barker wrote.

    One of my favorite memories with Chester and Linkin Park was playing this benefit for the Philippines ❤️🙏🏻 #RESTINPEACECHESTER pic.twitter.com/Jkyfa1nFl3

    — Travis Barker (@travisbarker) July 21, 2017

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  • For his fourth album, Steve Aoki, one of EDM's great showmen, has teamed with some of the biggest names in hip-hop. On Kolony, he abandons the trademark electro-house pulse of his Neon Future albums, instead diving into a booming and colorful trap-centric sound alongside modern stars like Migos, Gucci Mane, 2 Chainz, Lil Yachty and more. Rolling Stone caught up with Aoki to talk about the Kolony project, working with rap's newest generation and how the worlds of EDM and hip-hop continue to bridge.

    When did you first come across hip-hop?
    Even before I got into hardcore and punk, which really was the first time that music became my lifestyle. A big moment for me, even before then, the first album where I sat down and wrote every lyric to every song. It was Eazy E's Eazy-Duz-It and N.W.A. Straight Outta Compton. I was in elementary school and it was this world that was the complete opposite of mine.

    When you were listening to those early cassettes, what about the music was speaking to you?
    You could visualize the stories – whether they're true or not – they're storytellers and you can imagine the scenario. It's something about the imaginative process of living in their world, and you put yourself there and you live vicariously through those stories. 

    What was the original idea that started Kolony?
    I'd have to lend that to working with Lil Uzi Vert, we were in the studio together for a week. Generally speaking, before Kolony, I'd have beats already done, entire records done and artists would vibe with the record. But when I was the studio with Uzi I was like, 'Listen to this fucking record, listen to this drop, this is dope,' but that's not what got him in the booth. My process changed in that session, because it wasn't about the big drop, because it wasn't about the EDM. It was about finding a section to allow him to be [himself]. My job in the studio was to give him that landscape; I'm going to give you a color palette and I'm gonna give you space that so you can be creative. 

    What's the difference between working with EDM producers and working with rappers?
    The issue producers have with working with artists, they come in there with fully produced songs so they don't even allow a vocalist to come in there, so what I learned is that I don't do that anymore. Especially for artists where I want to give them the lead. I'm the director and you're my lead actor in this film. That kind of relationship needs to be understood and I can apply the colors and extras to make Aoki.

    What were the last songs and collaborations that came together for the album?
    Sonny Digital and "Thank You Very Much," which is the closing song on the album. It's a song I don't play in my sets because it's very introspective and it isn't a very heavy drop record. It's one of my favorite songs on the album. I think the most interesting part of the record is that Sonny Digital is singing. It's exciting because I wanna be the artist to help break out Sonny as a vocalist, 'cause his singing and how he wrote was bone-chilling, it was incredible. I'm happy that this song can hopefully break him out as a vocalist, like when Kanye came out rapping.

    Do you have any particular artists you'd love to work with for this particular project?
    Rae Sremmurd, been in the study with Jimmi, trying to find time to get in the studio with Swae and get our track down. Ayo and Teo, I brought them out [for the Kolony release party], cause I remixed "Rolex." I love those kids. They brought their dancers and they were going nuts on stage. It was insane.

    On Kolony you're working with artists from Mase to Lil Uzi Vert, what do you think about the difference in this upcoming generation of rappers? Do you think they're a bit more open to work with EDM producers, because ten years ago an album like this probably wouldn't happen.
    100%. This album was largely based on relationships and friends. Most of these artists, you can't just call their manager and do a song with these artists, because you have to develop a relationship, 'cause most of these artists already have their favorite producers, they have their own albums to attend to. If they're going to do a feature it'll be with their friend or someone that they really respect. I cultivated great friendships with a lot of these artists that I'm proud to say led to the completion of the album. 

    Younger EDM producers often say, 'I don't think too much about genre.' Do you think much about working with this kind of EDM producer or that kind of rapper?
    I get why young producers don't want to be compartmentalized. I'm an EDM guy there is no doubt about that, I'm not saying I'm not. But at the end of the day I'm just a producer and I'm constantly shifting my gears, whether the critics liked it or not I don't care. … All I care about is making the best music I can in the room. Hopefully the idea is to forge a whole new lane, because that is what is happening nowadays, because now artists are literally creating their own subculture. One artist can create and another can join then it's a full blown ecosystem, a healthy ecosystem around a sound, a squeak, a dance, it's insane.

    Why do you feel the worlds of EDM and rap are coming together more freely?
    I think the most important thing is that it doesn't matter what genre of music you're from. Energy is by far the most important element that surpasses trends, surpasses trends, cultures, genres, styles. That's why when you see Uzi or Travis Scott wilding the fuck out and people going apeshit and it feels like a punk show or a hardcore show or an EDM big-banging drop show. That's the energy people are attracted to. When a hip-hop artist goes hard at EDC everyone wants to be a part of that. It might not be your shtick or sound, but you can do something that can be a part of that.

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  • Billy Joel will reflect on every song on every Beatles album as part of the singer's stint as a guest DJ on SiriusXM's new Beatles Channel.

    "Just like you, I love the Beatles," Joel said in a statement. "I still think that they were the best band that ever was. And I'm going to go through their albums and talk about some of the songs that have stayed with me the rest of my life."

    The first installment of the guest DJ session, which airs July 21st at 5 p.m. on the Beatles Channel, finds Joel going track-by-track on the Beatles' first two Capitol-released American LPs, Meet the Beatles and The Beatles' Second Album.

    As evidenced by the below clip, wherein Joel reminisces about "This Boy" and school dances, the singer also performs parts of some tracks on the piano: 

    Joel has performed upwards of 25 Beatles songs live over the course of his career. Most recently, he debuted his rendition of the Beatles' "A Day in the Life" to mark the 50th anniversary of Sgt. Pepper's Lonely Hearts Club Band.

    "Revisiting The Beatles' album collection through the eyes of a musical icon is a rare treat, and we are honored to do this with Billy," President and Chief Content Officer of SiriusXM Scott Greenstein said in a statement. "This series will feel like you're sitting down with Billy at home listening to tracks on every Beatles album together, and hearing Billy's rendition of pieces of some songs. The Beatles in the hands and words of Billy Joel is truly something special for our listeners."

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  • Lana Del Rey, Lust for Life
    While the world-weary chronicler of post-millennial love is smiling on the cover of her fourth album, sadness still lurks at the edges of its dreamy, nostalgic songs. Arriving just in time for the summer-bummer dog days, Lust for Life features cameos from the Weeknd, Sean Ono Lennon and Del Rey's spiritual godmother Stevie Nicks.
    Hear: Amazon Music Unlimited | Apple Music | SoundCloud Go | Spotify | Tidal

    Nine Inch Nails, Add Violence EP
    The second in a planned trilogy of EPs from Trent Reznor's main project "contains all the aggression, abjection and self-loathing that solidified his position as alt-rock's Original Angster, but with the measured restraint of a man his age," writes Kory Grow. 
    Read Our Review: Nine Inch Nails' 'Add Violence' EP Matches Angst With Restraint
    Hear: Amazon Music Unlimited | Apple Music | Spotify | Tidal

    Romeo Santos, Golden
    The king of bachata – newly enshrined at Madame Tussaud's after a successful online campaign to get the former Aventura leader cast in wax – presents love songs that simmer and sigh as they combine traditional Dominican dance music with modern-day beats. A few big-name guests drop by: megaproducer Swizz Beatz assists on the sparkling "Premio"; reggaeton masters Daddy Yankee and Nicky Jam turn up the heat on "Bella y Sensual"; R&B upstart Jessie Reyez faces off with Santos on the torch-y "Un Vuelo a la"; and loverman Julio Iglesias brings charm to "El Amigo." But Santos' silky voice is the main attraction, sneaking between and through the intricate guitar lines that define bachata while also tempering the vibe on more club-ready tracks like "Sin Filtro." Maura Johnston
    Hear: Amazon Music Unlimited | Apple Music | SoundCloud Go | Spotify | Tidal

    Meek Mill, Wins & Losses
    The third full-length from North Philly's hip-hop everyman has a stacked guest list that includes Rick Ross, Quavo, Future and The-Dream.
    Hear: Amazon Music Unlimited | Apple Music | SoundCloud Go | Spotify | Tidal

    Steve Aoki, Steve Aoki Presents Kolony
    The showman DJ and entrepreneur's latest collection has a slew of big-name guests from the hip-hop world, including Lil Uzi Vert, Migos, Gucci Mane and Lil Yachty. "This album was largely based on relationships and friends," he tells Rolling Stone. "Most of these artists you can't just call their manager and do a song with these artists, because you have to develop a relationship – most of these artists already have their favorite producers, [and] they have their own albums to attend to. If they're going to do a feature, it'll be with their friend, or someone that they really respect. I cultivated great friendships with a lot of these artists that, I'm proud to say, led to the completion of the album."
    Hear: Amazon Music Unlimited | Apple Music | Spotify | Tidal

    Damian Marley, Stony Hill
    "Between LPs with Nas (Distant Relatives) and Mick Jagger (SuperHeavy), and more recent tracks with Jay Z (4:44's 'Bam') and Skrillex ('Make It Bun Dem'), Damian Marley has been his late father's rangiest ambassador," writes Will Hermes. "His first solo LP in a decade is an inspiring 18-track tour de force, flexing authority on both roots jams and dancehall bangers, on political meditations ... as well as come-ons (see the Drake-ian 'Grown and Sexy')."
    Read Our Review: Damian Marley Keeps Family Legacy Alive on 'Stony Hill'
    Hear: Amazon Music Unlimited | Apple Music | SoundCloud Go | Spotify | Tidal

    Nicole Atkins, Goodnight Rhonda Lee
    This Jersey-born, Brooklyn-based singer-songwriter finds her subtle way to rethink the Fifties and Sixties – blurring Roy Orbison, the Mamas and the Papas and Aretha Franklin, suggesting an alternative history where the Brill Building opened satellite offices in in Memphis and Nashville and charming female pop crooners could sing the word "horny" and still get jukebox spins. Recorded at the same Fort Worth, Texas studio used by Leon Bridges, Atkins' fourth LP is stately yet earthy, from the walking-after-midnight desire of "A Little Crazy" to the breezily forlorn "Sleepwalking" to the bright soul shouter "Listen Up." The result is a charming LP that makes familiar moods feel new. Jon Dolan
    Hear: Amazon Music Unlimited | Apple Music | PledgeMusic | Spotify | Tidal

    Cornelius, Mellow Waves
    The first album in 11 years from the Japanese composer and musical wizard Keigo Oyamada – who's also a member of the new-look Plastic Ono Band – is a chilled-out affair that collects mellow guitar pop and dreamily abstracted synth meditations. 
    Hear: Amazon Music Unlimited | Apple MusicSpotify | Tidal

    Little Silver, Somewhere You Found My Name
    The elegantly understated debut from this Brooklyn band does what great, grown-up indie rock at its best has always done: It maps out states of personal, emotional and historical in-betweenness with careful, intelligent grace and rhyming guitars. You can hear trace elements of Fairport Convention and the Bats in the way Steve Curtis (formerly of the roots-y band Hem) and Erika Simonian join their voices, and while songs like "The Slowing and the Start" and "Longest Day of the Year" take their time building from muted beauty to closely held grandeur, this LP isn't just about genteel craft: "One Stepper," which chugs along like a chill New Pornographers, uncorks the bare-knuckled couplet "I left you shaking at the church/I let you call me a fucking jerk" and only gets more complicatedly heated from there. Jon Dolan
    Hear: Apple Music | Spotify | Tidal

    Declan McKenna, What Do You Think About the Car?
    Articulate 18-year-old Declan McKenna is already a rising and buzzing star in England, and his debut LP proves he deserves the hype. His songwriting can suggest a debt to the watery alt-pop of Travis or Keane, but his writing is sharp and smart in the vein of Nick Lowe and Elvis Costello. "Leelah Alcorn" is about the suicide of a transgender teen in Ohio; "Paracetamol" takes on the way the media portrays LGBT communities; "Isombard" deals with racism in policing. If he were only singing about whiling away rainy days in his bedroom or getting roughed up by the pangs of disprized love, his crisp little tunes and cute genre moves would be enough. But he's got a world to take on: "I am everyone else," he sings on one ringing charmer, like a radical humanist Ray Davies. Jon Dolan
    Hear: Amazon Music Unlimited | Apple Music | SoundCloud Go | Spotify | Tidal

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  • Between LPs with Nas and Mick Jagger, and morerecent tracks with Jay-Z (4:44's "Bam") and Skrillex ("Make ItBun Dem"), Damian Marley (a.k.a. Jr. Gong) has been his late father'srangiest ambassador. His first solo album in a decade is an inspiring 18-trackcollection, flexing authority on roots jams and dancehall bangers, politicalmeditations ("Walking home a youth gets killed/Police free to shoot atwill," he sings on "Slave Mill," with his dad's indomitableruefulness) and come-ons (the Drake-ian "Grown and Sexy"). It's areminder that reggae remains a potent pop force, especially when it's in the handsof a master.

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  • Foreigner reunited with three key former members for the first time since 1980 as Lou Gramm, Al Greenwood and Ian McDonald joined the group onstage Thursday during a concert at Jones Beach, New York.

    Gramm, who fronted Foreigner from their inception in 1976 until 2003, sang lead with the band for the first time in 14 years, while multi-instrumentalist McDonald and keyboardist Greenwood, both founding members of Foreigner, last performed with the group in 1980.

    Together again after 37 years, the reunited iteration of Foreigner performed three tracks: "Long, Long Way From Home,” “I Want to Know What Love Is" and "Hot Blooded."

    "It was great to have Lou, Al and Ian join us onstage last night, and certainly brought back some special memories," guitarist and founding member Mick Jones said in a statement.

    "All the original guys are out there playing live shows and working on studio projects. A performance by the entire original band for a Rock & Roll Hall of Fame induction next year would be a great way to cap off our 40th Anniversary celebrations."

    Earlier this year, Gramm and Jones hinted that a Foreigner reunion could be in the works in some capacity as the band embarked on their 40th anniversary tour; their self-title debut album was released in 1977. The duo last performed together in 2013 at their induction ceremony into the Songwriters Hall of Fame, Ultimate Classic Rock notes.

    Foreigner recently embarked on a summer tour with support from Cheap Trick and Jason Bonham's Led Zeppelin Experience. It's unclear whether Gramm, Greenwood and McDonald will appear at upcoming stops or if the reunion was a one-off until a potential Rock Hall induction.

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  • Trent Reznor has always aspired to the artistic malleability of David Bowie, tweaking his sound and vision with each release while twisting his kaleidoscope of grays into different shades of anguish. Like the late Thin White Duke, he's made missteps (his remix EPs never "fixed" anything, and his glitchy How to Destroy Angels space-pop detour could be his Tin Machine), but also like Bowie, he's always regained his footing, funneling his anxieties into new teeth-gnashing horrorscapes. His soundtrack work in recent years with his Nine Inch Nails partner Atticus Ross has given him an outlet to experiment outside of his nom de synth-rock, forcing new vitality into his NIN outings of late for even harsher, more potent music.

    His latest, the five-song EP Add Violence, contains all the aggression, abjection and self-loathing that solidified his position as alt-rock's Original Angster but with the measured restraint of a man his age. Like Reznor's early Nine Inch Nails work, it's a mostly insular affair – only he and Ross are credited here, with two women singing backup on opener "Less Than" – and it's the inherent loneliness that makes Add Violence compelling, especially when contrasted with last year's Not the Actual Events EP, which sounded a little scattered despite guest shots from Daves Grohl and Navarro and Reznor's wife and How to Destroy Angels partner Mariqueen Maandig.

    The simplicity of the duo's approach drives Add Violence from the start, as "Less Than" opens with a plinky, Depeche Mode–styled keyboard riff before Reznor's voice wrests it into a catchy, chin-down single. "Welcome oblivion," he sings at the end. "Did it fix what was wrong inside?" But since that feeling of nothingness, which Reznor has paid homage to on practically every release of his career, has never fixed anything, it becomes the third member of Nine Inch Nails on the rest of the EP.

    That isolated sensation overwhelms "Not Anymore," one of the harder hitting and most self-deprecating tracks on Add Violence. "I won't forget – I know who I am," he sings. "No matter what, I know who I am/And what I'm doing this for ... " And then he screams, "Well, not anymore." It's vintage Reznor hostility, and it's all the more cutting when sandwiched between the shadowy, ominous "This Isn't the Place," which could be a soul song if presented differently, and overdriven closing track "The Background World," which opens with Reznor dejectedly scorning someone, "You left me here," before eventually building to eight minutes of an overdriven synth loop, adding more and more distortion with each repeat, recalling Nine Inch Nails' Broken EP.

    The only weak moment here is "The Lovers," a blippy, meandering ballad of sorts that's sometimes too mopey for its own good – even for Reznor – as he suffers an identity crisis ("I know who I am, right?") and settles "into the arms of the lovers" before deciding, "I am free/Finally." It slows down the momentum of what is an otherwise strong declaration of anxiety, one that, if he and Ross blew it out a little more into an album, could stand with the band's best.

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  • In 1997, Bad Boy Records dominated hip-hop like perhaps no label has before or since, with Sean "Puff Daddy" Combs declaring "10 years from now, we'll still be on top." Twenty years later, Combs, now better known as Diddy, is well on his way to becoming a billionaire, and recently released Can't Stop Won't Stop: A Bad Boy Story, a documentary about the label's storied history and the reunion that toured arenas last year. No Way Out, the blockbuster solo album that turned the producer and label exec into a multiplatinum rap star in the summer of '97, remains a landmark moment in his remarkable career.

    To celebrate the album's anniversary, here are some lesser-known facts about No Way Out.

    1. No Way Out has a title track that was left off the album
    No Way Out opens with "No Way Out (Intro)," a dramatic 80-second interlude with helicopter sound effects. But Puff Daddy also had an actual song called "No Way Out," featuring Kelly Price and Black Rob, that was left on the cutting room floor, released later that summer on the soundtrack to the Chris Tucker comedy Money Talks. On it Puffy raps, "They can't hurt me no more than they already did/They killed Big, in my heart he forever lives/ There's no way out, like you got Berettas to my wig."

    2. Jay-Z turned down the chance to write "I'll Be Missing You"
    It's no secret that Sean Combs, who famously declared "Don't worry if I write rhymes, I write checks," didn't pen many of his lyrics on No Way Out, even his chart-topping emotional tribute to his slain friend the Notorious B.I.G. A relatively unknown Brooklyn rapper named Sauce Money got the gig to write Puffy's somber verses on "I'll Be Missing You" after his old Marcy Projects friend Jay-Z was asked first. Jay, still a rising star at that point who was routinely collecting checks as a writer for Puffy, Ma$e and others, decided to pass on this gig, even though he was affected by Biggie's death and paid tribute on many of his own songs. "It could be difficult to open up and try to eulogize a good friend," Sauce Money told Genius last year, explaining that he used the death of his own mother as inspiration for the lyrics.

    3. Puffy's lavish videos were inspired by Guns N' Roses
    No Way Out spun off several videos, each more ambitious and star-studded than the last, culminating in the epic action-movie-themed clip for "Been Around the World" and the ominous, dramatic $2.7 million dollar short film for "Victory," still one of the most expensive music videos ever made. In a recent interview with the New York Times, Sean Combs listed his top 5 favorite videos, including "November Rain," explaining that Axl Rose's penchant for opulent visuals had inspired his own. "I was a big fan of Guns N' Roses, and I found out what their budgets were, and I was like, that's got to be the budget of my video."

    4. Missy Elliott helped mastermind "It's All About the Benjamins"
    "It's All About the Benjamins" was Puff Daddy's gritty mixtape hit that set the stage for his solo career, featuring two-thirds of the L.O.X., and remixed for No Way Out with Lil Kim and the Notorious B.I.G. But one major star not officially credited on the song that apparently had a major hand in shaping that track was Missy Elliott. In a 2013 interview with Cipha Sounds, the L.O.X.'s Sheek Louch revealed that Elliott, then a songwriter on the rise, ran the session for the original track, judging the verses they wrote and ultimately making the call to leave Styles P off the song.

    5. "Young G's" has been an interesting piece of sample recursion for Diddy and Jay-Z
    No Way Out is famous for its gaudy use of recognizable pop and R&B samples, but the album left such a huge mark that it's been sampled multiple times in its own right. One of the first times was when one of the album's guests sampled themselves – a few months after Jay-Z kicked a classic verse on No Way Out's "Young G's," he sampled his voice on the track for the hook of the In My Lifetime, Vol. 1 highlight "Where I'm From." In 2010, Diddy created a sort of sample inception when he sampled the "Where I'm From" beat for Diddy-Dirty Money's single "Angels." 

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  • Prophets of Rage – the supergroup/"elite task force of revolutionary musicians" featuring members of Rage Against the Machine, Public Enemy and Cypress Hill – have unleashed their video for their new single "Living on the 110," a song about the homeless crisis along the titular Los Angeles highway.

    The video takes a hardened look at a handful of homeless people "living on the 110," how long they've been on the streets and what they aspired to be before they got stuck in their seemingly unending situation.

    In addition to focusing on the plight of the homeless, the video also spotlights examples of wealth inequality throughout, like how "the richest 400 people in America owns as much wealth as the poorest 150 million."

    The video concludes with a quote from Nelson Mandela, "Overcoming poverty is not a gesture of charity. It is an act of justice. It is the protection of a fundamental human right. The right to dignity and a decent life. While poverty exists, there is no true freedom."

    Prophets of Rage, the group's self-titled debut LP, is out September 15th. The band will celebrate the arrival with four intimate "album release" shows, starting September 7th at Boston's Paradise Rock Club. Gigs at Asbury Park's Stone Pony (September 9th), Philadelphia's TLA (September 10th) and New York's Apollo Theater (September 12th) will follow.

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  • Stone Temple Pilots have issued a statement in remembrance of their former singer Chester Bennington, who died by suicide Thursday at the age of 41. The Linkin Park star fronted STP from 2013 to 2015.

    In a post titled "Chester," the band wrote, "It is a sad day today to know that so many of us will no longer share in your laughter, friendship and love. You showed us time and time again what it is to be an incredible human being."

    The band continued, "A beacon of light and hope is what you will always be to us. We love you Chester. We will miss you."

    Bennington's death marked the second time the members of Stone Temple Pilots mourned a former vocalist: In December 2015, Robert and Dean DeLeo and Eric Kretz paid tribute to Scott Weiland following that singer's death.

    The music world continues to reel in the aftermath of Bennington's death, which came just two months after the suicide of the singer's close friend Chris Cornell; Bennington sang at the funeral of the late Soundgarden vocalist.

    Bennington's Linkin Park bandmates have also paid tribute to their frontman. "Shocked and heartbroken, but it's true. An official statement will come out as soon as we have one," Mike Shinoda tweeted, while the band's Twitter posted a caption-less photo of Bennington onstage.

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