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Projekt Revolution

Projekt Revolution was a concert tour and music festival series initiated and headlined by the American rock band Linkin Park, designed to integrate rock, hip-hop, and other genres on multi-artist package bills. Launched in 2002 as Linkin Park's inaugural headlining arena tour in the United States, it emphasized collaboration over competition, fostering an inclusive atmosphere that united diverse musical acts and audiences through shared performances. The tour evolved from smaller lineups in its debut year—featuring four bands—to larger festivals with main and secondary stages by 2004, incorporating high-profile guests such as Jay-Z, Korn, Snoop Dogg, and My Chemical Romance across editions in 2002–2004, 2007–2008, and a abbreviated European run in 2011. This format allowed for genre-blending sets and fan engagement, expanding occasionally to Europe while primarily touring North American amphitheaters and arenas during summer seasons. Linkin Park's involvement ensured a focus on energetic, cohesive experiences that highlighted musical variety without hierarchical staging rivalries.

Overview

Concept and Origins

Projekt Revolution was a multi-artist concert tour series organized and headlined by the American rock band Linkin Park, launching in 2002 as their inaugural headlining arena tour across the United States. The core concept centered on creating a collaborative platform that bridged rock and hip-hop genres, allowing diverse acts to share stages in a non-competitive, inclusive atmosphere rather than a hierarchical festival structure. This approach reflected Linkin Park's own rap-rock hybrid sound and aimed to foster mutual support among performers from varied musical backgrounds. The tour's origins emerged in the wake of Linkin Park's commercial breakthrough with their 2000 debut album Hybrid Theory, which sold over 30 million copies worldwide by 2002. Seeking to curate lineups featuring artists they admired, band members including Mike Shinoda emphasized genre fusion as a deliberate strategy to innovate touring formats, predating widespread cross-genre bills in major rock events. Preparations for the inaugural 2002 edition began in late January, positioning it as a summer package tour that prioritized artistic synergy over profit-driven competition. At inception, the tour's model was described as revolutionary for integrating rap and rock groups on equal footing, challenging the era's genre silos and drawing comparisons to festivals like Ozzfest but with a focus on unity and accessibility. Linkin Park handled much of the organizational logistics internally, from artist selection to stage planning, to maintain creative control and ensure the event's ethos of positivity and collaboration. This foundational vision sustained the series through multiple iterations until 2008, evolving from domestic amphitheater stops to include international dates by 2007.

Organizational Model

Projekt Revolution was founded and primarily organized by Linkin Park, who headlined every edition of the tour from its inception in 2002 through 2011. The band assumed direct responsibility for key aspects of production, including artist selection, lineup curation, and logistical coordination, operating as a self-directed festival rather than relying on external promoters for core decision-making. This hands-on model allowed Linkin Park to align the event with their vision of bridging rock, hip-hop, and related genres, while maintaining control over creative elements such as stage design and set sequencing. Central to the organizational approach was an "intricate inter-band system" for planning and execution, involving collaborative input from all participating acts on matters like tour routing, performance schedules, and shared resources. Linkin Park's Mike Shinoda described this process as akin to a "big family," with bands convening to discuss objectives and resolve issues collectively, which extended planning timelines to around nine months per tour iteration. This structure emphasized mutual support among artists, often resulting in flat-fee arrangements or profit-sharing to keep ticket prices accessible, typically in the $30–$50 range depending on the year and venue. The tour's format evolved structurally over time, starting with a single-stage setup in 2002 and 2003 before introducing a dual-stage configuration in 2004—a main stage for headliners and established acts, paired with a secondary "Revolution Stage" for emerging or supporting performers. This bifurcation optimized runtime efficiency, enabling up to 10–12 acts per show without excessive delays, and reflected Linkin Park's commitment to nurturing diverse talent while prioritizing fan experience through varied programming. Management was handled through Linkin Park's inner circle, including their longstanding team at the Mitch Schneider Organization for publicity and logistics, ensuring seamless execution across North American amphitheaters and arenas.

Early Tours (2002–2004)

2002 Tour

The 2002 Projekt Revolution tour marked the debut of the annual music festival organized and headlined by , serving as their first arena headlining run in the United States. The event featured a single-stage format with supporting performances from , , and , blending nu-metal, , and elements. Spanning 21 shows from January 29 to February 24, 2002, the tour covered arenas in 19 cities, primarily in the Midwest and West Coast regions. Key stops included the World Arena in Colorado Springs on January 29, the Hutchinson Sports Arena in Valley Center, Kansas, on January 30, the Aragon Ballroom in Chicago on February 1, and concluding dates at the Cox Arena in San Diego on February 23 and the Thomas & Mack Center in Las Vegas on February 24. Ticket prices varied by venue but typically ranged from $25 to $40, reflecting the era's standard for mid-tier arena rock packages. Linkin Park's sets averaged around 10-12 songs, drawing heavily from their debut album Hybrid Theory (2000), with staples like "In the End," "Papercut," "Points of Authority," and "A Place for My Head," alongside tracks such as "Step Up" and covers like Dust Brothers' "It's Goin' Down." The tour emphasized high-energy production without elaborate staging, prioritizing rapid pacing and audience interaction to build momentum post their Ozzfest appearances. No major incidents or cancellations were reported, though the short winter window limited geographic scope compared to later iterations.

2003 Tour

The 2003 iteration of Projekt Revolution, organized by Linkin Park, served as the second annual edition of the festival-style tour, headlined by the band with supporting acts Mudvayne, the rapper Xzibit, and the punk rock group Blindside. Announced on February 21, 2003, the tour targeted North American arenas and was initially scheduled for 17 dates beginning April 8 in Rochester, New York, at the Blue Cross Arena. The spring leg proceeded through late April, encompassing stops in cities including University Park, Pennsylvania; Evansville, Indiana; Memphis, Tennessee; and Phoenix, Arizona, though multiple performances were cancelled due to injuries sustained by Linkin Park vocalist Chester Bennington, including a broken ankle that also impacted the band's concurrent European commitments. Two affected dates were rescheduled for July, with the July 22 show returning to Rochester featuring Mudvayne, Cold, and Jurassic 5, and the July 29 performance in Council Bluffs, Iowa, at the Mid-America Center including Mudvayne, Cold, and Revis. These adjustments marked variations in the supporting lineup for the rescheduled events, reflecting the tour's emphasis on genre-blending acts from rock, hip-hop, and related styles. Overall, the tour completed approximately 15 shows, blending high-energy arena performances amid logistical challenges from the cancellations. Following the conclusion of Projekt Revolution dates, Linkin Park transitioned to the Summer Sanitarium tour alongside Metallica, Limp Bizkit, Deftones, and Mudvayne.

2004 Tour

The 2004 edition of Projekt Revolution marked the third annual iteration of the festival tour organized by Linkin Park, serving as the final promotional outing for their album Meteora. The tour comprised 32 performances across amphitheaters and outdoor venues in the United States, commencing on July 23 at Riverbend Music Center in Cincinnati, Ohio, and concluding on September 5 at the Verizon Wireless Amphitheater in Irvine, California. Tour dates were announced in early March 2004, with presales prioritized for members of the Linkin Park Underground fan club starting March 8, offering access to premium seating. The event expanded on prior years by incorporating a dual-stage format, featuring a main stage headlined by Linkin Park alongside Korn, Snoop Dogg, The Used, and Less Than Jake (with the latter absent from the Dallas performance due to illness in the band). A secondary Revolution Stage hosted emerging and hip-hop acts, including Ghostface Killah (with P.A.W.N.), Funeral for a Friend, downset., M.O.P., Mike V. & The Rats, Instruction, No Warning, and Autopilot Off. This structure facilitated genre diversity, blending nu-metal, rap, punk, and hardcore elements, with additional on-site activations such as remix booths and gaming tents at select stops. Linkin Park's performances emphasized Meteora tracks like "Faint," "Numb," and "Lying from You," interspersed with staples from Hybrid Theory such as "In the End" and "Crawling," typically spanning 20-22 songs over approximately 90 minutes. Notable guest collaborations included Korn's Jonathan Davis joining for "1stp Klosr" at multiple shows and The Used's Bert McCracken on "Faint," while Snoop Dogg performed "Gin and Juice" with Linkin Park at select dates; setlists evolved mid-tour, incorporating "A Place for My Head" after initial omissions and debuting a medley transition between "Figure.09" and "From the Inside." The opening Cincinnati show experienced a 40-minute delay, and select live recordings from the tour, including a cover of Nine Inch Nails' "Wish" from Tampa, were later included on the LP Underground 4.0 compilation.

Later Tours (2007–2011)

2007 Tour

The 2007 edition of Projekt Revolution marked the tour's return after a two-year hiatus, expanding to North America with 24 dates from July 25 to September 3. Headlined by Linkin Park, it featured a predominantly rock-oriented lineup including My Chemical Romance, Taking Back Sunday, HIM, Placebo, Saosin, The Bled, Julien-K, Styles of Beyond, and Mindless Self Indulgence, shifting away from heavier hip-hop emphasis in prior years. The tour included its first Canadian performance on August 12 in Toronto at Molson Amphitheatre, alongside U.S. amphitheater stops such as White River Amphitheatre in Auburn, Washington (opening date) and Coors Amphitheatre in Denver, Colorado (closing date). Linkin Park rotated through three distinct setlists (A, B, and C) during the tour, incorporating tracks from their then-recent album Minutes to Midnight alongside staples like "In the End" and "Numb," with variations to maintain freshness across shows. Supporting acts performed on main and secondary stages, with notable appearances by Madina Lake on select dates after August 13, though they missed earlier shows due to prior commitments like Summer Sonic Festival. The event emphasized genre fusion but leaned toward alternative rock and post-hardcore, drawing criticism in some reviews for lacking the rap-rock crossover that defined earlier iterations. Attendance varied by venue, with several shows selling out, including high-capacity amphitheaters like Shoreline Amphitheatre in Mountain View, California, on July 29. Ticket prices started around $40–$60 for general admission, with VIP packages offering stage access and merchandise. The tour concluded without major disruptions, though logistical challenges like set time overlaps were reported at some sites, prompting fans to seek online updates for band schedules. Overall, it reinforced Projekt Revolution's model of multi-band festivals while adapting to evolving fan preferences for rock-heavy bills.

2008 Tour

The 2008 edition of Projekt Revolution was a summer concert tour headlined by Linkin Park, incorporating a two-stage setup with the Main Stage featuring nu-metal, alternative rock, and solo performances, while the Revolution Stage highlighted heavier acts. Main Stage performers included Chris Cornell of Soundgarden, The Bravery, and Ashes Divide, the latter led by Billy Howerdel formerly of A Perfect Circle. The Revolution Stage was anchored by Atreyu, with support from 10 Years, Hawthorne Heights, and Holstar. Tour organizers allocated $1 from each ticket sale to Music for Relief, Linkin Park's nonprofit for disaster relief and environmental causes. The tour commenced with four European dates in late June 2008—München on June 25, Berlin on June 27, Düsseldorf on June 28, and Milton Keynes on June 29—before shifting to North America for approximately 20 shows from early July through mid-August. Linkin Park varied their setlists across performances, employing three distinct configurations labeled Set X, Set Y, and Set Z, which incorporated tracks from their then-recent album Minutes to Midnight alongside earlier material. The Milton Keynes finale drew nearly 65,000 attendees, prompting the release of the live album Road to Revolution: Live at Milton Keynes on November 24, 2008, capturing an 18-track performance including collaborations and covers. Performances emphasized high-energy staging with elevated risers and dynamic lighting, though logistical challenges like microphone shadows occasionally affected photography and visibility. Chris Cornell highlighted the tour's camaraderie in interviews, noting nostalgic alignments with Linkin Park's style despite generational differences in rock evolution. Overall, the event maintained the festival's tradition of genre-blending bills, drawing crowds for its accessible pricing and charitable component, though specific attendance figures beyond Milton Keynes remain unreported in primary announcements.

2011 Tour

The 2011 Projekt Revolution tour represented a limited revival of the festival-style event after a three-year absence, confined to four European dates in June to promote Linkin Park's album A Thousand Suns. Headlined by Linkin Park, the shows adopted the multi-stage, diverse lineup format of prior iterations but on a scaled-back scope, primarily integrating with broader European festival circuits. This edition marked the tour's expansion into Finland for the first time and emphasized electronic and rock fusion elements aligning with the headliners' recent material. Kicking off on June 16 at Kaisaniemi Park in Helsinki, Finland, the event featured Die Antwoord as a key supporting act, blending rap-rave with Linkin Park's hybrid rock sets that included tracks like "The Catalyst" and "Burning in the Sky" from A Thousand Suns, alongside classics such as "In the End." The June 18 performance at Festwiese in Leipzig, Germany, incorporated Guano Apes, Anberlin, Dredg, and Middle Class Rut, with Linkin Park delivering a 20-song set heavy on newer material. On June 19, the tour hit Hessentagsarena in Oberursel, Germany, as part of the Hessentag festival, where setlists maintained a balance of aggressive nu-metal roots and experimental electronica. The final date occurred on June 25 at Neue Messe in Munich, Germany, closing the brief run with similar lineup dynamics and performance structure. Across the shows, Linkin Park played 19-21 songs per night, prioritizing A Thousand Suns tracks (averaging 8-10 per set) while incorporating fan favorites from Hybrid Theory and Meteora to sustain energy in outdoor festival environments; variations included guest appearances and stage effects like pyrotechnics and visuals synced to the album's thematic motifs of apocalypse and renewal. The tour's compact nature reflected logistical shifts post-2008, focusing on high-density European markets rather than extensive North American legs, and it drew crowds emphasizing the headliners' draw amid supporting acts' genre diversity.

Reception and Impact

Commercial Performance

The Projekt Revolution tours generated substantial revenue and attendance, reflecting Linkin Park's strong draw in the rock and nu-metal genres during the mid-2000s. The 2007 edition, launched on July 25 to support the album Minutes to Midnight, grossed over $30 million in ticket sales across its North American run. That year, the tour averaged $542,426 in box office gross per city, with an average ticket price of $39.91, placing it among the top-performing concert packages according to industry tracking. The 2008 tour extended the format to Europe for the first time, culminating in a sold-out performance at England's Milton Keynes National Bowl on June 29, which drew nearly 60,000 attendees—the largest single-show crowd in the festival's history up to that point. This event, part of a four-date European leg, underscored the tour's international appeal and contributed to the release of the live album Road to Revolution, recorded on-site. Earlier iterations from 2002 to 2004, while on a smaller scale with fewer dates, successfully scaled up Linkin Park's headlining presence from arenas, building momentum without reported deficits despite limited public box office disclosures. Overall, the series bolstered the band's career touring gross, which exceeds $236 million across all efforts.

Genre Fusion and Cultural Influence

Projekt Revolution showcased genre fusion through its deliberate curation of diverse artist lineups, blending elements of nu-metal, hip-hop, rock, and punk to mirror Linkin Park's own synthesis of rap verses, heavy riffs, and electronic textures. Launched in 2002, the tour paired Linkin Park with hip-hop acts like Cypress Hill, whose metal-infused tracks complemented the headliners' style, while incorporating rock and alternative performers to create a platform for cross-pollination. This approach extended to annual samplers compiling tracks from rock, hip-hop, and punk artists, distributing hybrid sounds to attendees and broadening exposure to fused aesthetics. Subsequent iterations amplified this eclecticism; the 2004 lineup integrated Snoop Dogg's West Coast rap with Korn's nu-metal aggression, the Used's post-hardcore intensity, and Less Than Jake's ska-punk energy, drawing over 500,000 attendees across 25 North American dates and demonstrating viability of multi-genre billing. By 2008, the festival enlisted Busta Rhymes for rapid-fire hip-hop alongside Chris Cornell's grunge-rooted rock, Atreyu's metalcore breakdowns, and The Bravery's indie rock, further eroding genre silos in live settings. Such programming prioritized sonic complementarity over strict categorization, fostering onstage collaborations and setlist overlaps that highlighted shared rhythmic and thematic threads. Culturally, the tour influenced the early 2000s rock landscape by cultivating diverse audiences, with reports noting increased ethnic representation and genre openness among concertgoers compared to siloed events. It accelerated nu-metal's integration with hip-hop, contributing to the genre's peak-era experimentation and paving the way for hybrid festivals that normalized crossover appeal, as evidenced by its role in elevating acts like Styles of Beyond from indie rap obscurity. By grossing millions annually—such as $20 million in 2008—and sustaining fan loyalty through affordable, multi-act packages, Projekt Revolution underscored commercial demand for boundary-blurring experiences, indirectly shaping the evolution toward genre-agnostic programming in modern touring.

Criticisms and Limitations

The later editions of Projekt Revolution drew criticism for departing from the rap-rock hybrid that defined its early years, with the 2007 tour notably excluding hip-hop acts in favor of an all-rock lineup including Linkin Park, My Chemical Romance, and Taking Back Sunday. This shift was observed to prioritize rock elements over the hip-hop flavor previously provided by performers like Cypress Hill and Snoop Dogg, reducing the genre diversity that had distinguished prior iterations. Reviews also pointed to the tour's format occasionally failing to innovate musically, despite its revolutionary branding; for instance, the 2007 leg was described as lacking true novelty in its performances. Logistical hurdles further constrained operations, such as flight delays that forced Linkin Park to truncate their set at the 2008 Toronto date due to time limits. The series' intermittent scheduling highlighted sustainability challenges, including a two-year hiatus from 2005 to 2006 following expansions in scale, and its termination after 2011, attributed by vocalist Chester Bennington to the demands of promoting Linkin Park's more experimental A Thousand Suns album through international arena tours rather than domestic festivals. This suggests limitations in adapting the multi-artist package format to the band's evolving electronic and orchestral directions.

Controversies

2008 Tour Disputes

During the 2008 edition of Projekt Revolution, which commenced on July 23, rapper Busta Rhymes departed the tour after performing at only eleven dates, citing "complicated business matters" beyond anyone's control. Mike Shinoda, via his official blog on July 27, expressed the band's disappointment, noting Rhymes' energetic contributions to the main stage and hoping for future collaborations. The tour, headlined by Linkin Park and featuring acts like Chris Cornell and The Bravery, had promoted Rhymes as a key performer following their collaborative single "We Made It," released earlier that year. Reports indicated the exit stemmed from Rhymes' concurrent fallout with Interscope Records, his label at the time, which lacked promotional support post-departure from the roster. This occurred amid Rhymes' heated exchange with Interscope chairman Jimmy Iovine, leading to his effective dropping during the tour's early weeks. The incident disrupted main stage scheduling, with acts like Street Drum Corps filling in at subsequent shows, prompting fan dissatisfaction over the abrupt change. No public acrimony emerged between Rhymes and Linkin Park, and the tour proceeded through its North American leg into September without further high-profile exits. Separate to Rhymes' exit, state police arrested 17 attendees on July 23 at the tour's opening show in New Jersey for charges including drug possession and disorderly conduct, though this did not involve tour organizers or performers. Overall, the disputes highlighted logistical vulnerabilities in multi-artist festivals reliant on external label backing, but did not derail the event's completion across 28 dates.

Broader Organizational Challenges

Coordinating the diverse lineup of Projekt Revolution posed ongoing logistical hurdles, particularly in aligning schedules and production needs for acts spanning rock, hip-hop, and alternative genres. Shinoda described the tour's ethos as prioritizing collaboration over competition, requiring intentional efforts to integrate varying artistic styles and prevent typical inter-band tensions seen in package tours. This genre fusion, while innovative, occasionally resulted in uneven audience engagement, with crowds fluctuating between sets tailored to different fanbases, as observed during transitions from hip-hop to rock performances. The multi-stage setup amplified operational complexities, including dual sound configurations and time management across 20-30 acts per tour, leading to occasional curtailments like shortened sets due to delays in 2008. Venue-specific issues further complicated execution, such as restrictions on merchandise sales at certain sites stemming from pricing disagreements. These elements contributed to periodic cancellations, including weather-related postponements in 2003 and injury-forced omissions in 2008, underscoring the vulnerabilities of extended North American and international routing. Sustaining the festival format proved increasingly burdensome amid rising production costs and the economic pressures of the late 2000s music industry. Hiatuses in 2005-2006 followed rapid expansion, despite initial intentions to continue annually, highlighting scalability limits for a headliner-dependent event. By 2011, the tour shrank to four European dates, reflecting a pivot toward resource-intensive solo headline shows emphasizing custom visuals for albums like A Thousand Suns, rather than divided attention across ensembles. Shinoda later indicated in 2023 that while multi-band concepts endure informally, reviving Projekt Revolution under its banner remains improbable, citing the formidable demands of orchestration.

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