After a tragedy-tinged, 7-year hiatus, Linkin Park’s Mr. Hahn returns to the decks & rocks the arenas.
Nearly a quarter of a century ago – yikes – we first interviewed Linkin Park’s Joe Hahn. It was the high time of turntablism and an era that saw DJs working onstage and in the studio with nu-metal rock bands. Think Limp Bizkit. Think The Deftones. Incubus. Slipknot. Remember?
By 2000, when Linkin Park came along, there was something a little different to its mix. Like many of the other bands, Linkin Park had a DJ and an MC (Mike Shinoda) deeply involved in creating the raging music and delivering it all onstage. But unlike the others, they had supremely hooky tunes and a special singer (Chester Bennington) who could emote in a way that cut through all the genre’s formulas.
Indeed, when we talked with Linkin Park’s Mr. Hahn at the end of 2000, we had no idea that the group’s debut album, Hybrid Theory, would blow up the way it did. In fact, on the strength of singles like “One Step Closer,” “Crawling,” “Papercut,” and “In the End,” it became one of the industry’s top-selling debut albums of all time, eventually moving over 32 million units worldwide.
Luckily, we got a great interview with Hahn, who was well-versed in the DJ talk of the day – Vestax turntables and mixers, Ortofon cartridges and needles, battle videos, the Invisibl Skratch Piklz, The X-Ecutioners, etc. But, before long, Linkin Park would became one of the biggest bands in the world and Hahn was onstage rocking arenas and stadiums.
Three albums and a decade later, we caught up with Hahn and Linkin Park again – this time as the group played a one-off gig in Manhattan’s Best Buy Theatre. Of course, our conversation revolved around the band’s amazing ascent and sustained success, plus his own technological evolution.
This time around, our conversation wasn’t nearly as giddy, as group has since been touched by tragedy: In 2017, Bennington took his own life and Linkin Part went on indefinite hiatus. After much hurt and healing, the band re-grouped and returned to the scene with a powerful new singer, Emily Armstrong, a multi-talented new drummer, Colin Brittain, and a fiery new album, From Zero.
Buoyed by a series of singles, including banger “The Emptiness Machine,” Linkin Park hit out on the road at the end of 2024 and will continue through 2025 with a 56-date tour that will take the group to basketball arenas and soccer stadiums in North America, South America and Europe. As with earlier tours, Hahn has something special whipped up for this one – expect to see a mad DJ/drummer solo with Hahn and Brittain collaborating for some big, block-rockin’ beats. Our conversation with DJ Joe Hahn went like this:
DJ LIFE: Going back to the beginnings of the group, how did you initially see a DJ working within the framework of Linkin Park? What spice did you see yourself adding to the mix?
Joe Hahn: At the beginning, it was really Mike [Shinoda] and I. We were just into hip hop and talking about music all the time. Sampling was a big thing. DJ culture, especially turntablism, was a big part of what was popular and interesting. I think a lot of it was just exploring sound through bytes of information via sampling, or to manipulate like juggling and scratching, that kind of stuff. So, it was really just exploring and thinking, “What can we do with the tools?” A lot of it was just us trying to learn it, trying to figure it out. Back then, there was no playbook on how to do it. We were just kind of copying, I guess.
DJ LIFE: Why did you think the band worked out so well?
Hahn: I think the fundamental of it is just the relationship – just friends finding alignment and love for music, and being able to share in that joy. We were trying to reverse-engineer, like, what makes this song like this? And how can we incorporate it in what we’re doing? What would be our version of those types of things? And I think, especially at the beginning, we’re trying to infuse hip hop into metal and whatever else, everything in-between. I think if you go solely to those genres, at those times, you typically had certain attitudes that were expressed in different ways. So, for us to be able to merge all that together… that was just really fun to just try to figure out, just trying to be as hip hop as possible, be as punk or metal as possible. We figured it out, in our own unique way, amongst everything else.
DJ LIFE: What motivated you to DJ and what were your first DJ set-ups?
Hahn: I would see stuff on film or at a party, and see what people are doing, and then just go into record shops and, being nosy, and ask whoever worked there a million questions. The first turntables I had were just belt-driven turntables – that was before I even knew what the motor drive was…
DJ LIFE: Do you remember the brand?
Hahn: I don’t remember the brand, but the first mixer I had was a Gemini. It had a built-in sampler – either 6- or 8-second sampler. It had a little button – like a start, stop and play. You just capture a loop. So, the idea was, “OK, I gotta catch it on the one and end on the four, or whatever, then loop it.” That was the start of me understanding how drums are working on the record and how I need to capture that, and how I need to eventually beat-match it on the other deck. In the case of that mixer, those were all just one-shots.
DJ LIFE: Things got better, I’m sure…
Hahn: Right, it was like, OK, if I get a sampler, I’ll have multiples, multiple one-shots, more banks. It’s still limited at that time, but I appreciate the fact that the limitations caused me to learn in a certain way to take those micro-steps. And now technology is crazy. If you can think it, you can do it.
DJ LIFE: And now, the plug-in world has taken you way beyond all that. Life got even easier.
Hahn: I love outboard gear… but, yeah, you don’t need it because you can just pay $20 for a plug-in, for whatever you want. Now you can take shortcuts and all that, but to have the experience in going through those steps, I think, is really important. You can create the same things easily, but you have to instinctively know what that means on a base level.
DJ LIFE: Can you get caught up in the speed of the process, instead of emphasizing the quality of the result?
Hahn: Even in the digital age, it still has to have certain quality of sound, right? I think today, because you’re able to work very quickly, have great sounds, and everyone’s using the subscription-based sample services like Splice and whatnot – it’s awesome, I use it – there’s something in the quick-serve mentality where that sometimes that extra time isn’t put into really making things sound unique to the person creating it.
DJ LIFE: What’s your stage set-up for the Linkin Park shows these days?
Hahn: Along with the Pioneer DJ DJM-S11 mixer, I’m still using turntables… now I’m using the Pioneer DJ PLX-CRSS12s, but no needle on the actual record. The platters are moving with a real motor and I’m able to manipulate with that because it’s going directly to Serato and I don’t have to deal with noise entering the needle for skipping.
DJ LIFE: It wasn’t always like that…
Hahn: In the beginning, I was using vinyl and just hoping someone doesn’t shake the stage. Or at a festival, the bass would just rumble, so I missed the cue points. So now, the technology has advanced so much that you can work just fine. For me, it’s more of a performance tool, but you can really just create music onstage or recreate music with stems and all that kind of stuff.
DJ LIFE: How deep do you get into it?
Hahn: I just stick to a little bit more traditional with the new tools. On occasion, I’ll use the cue points to do button mashing, and combine that with effects. And I’ll have a guitar-effects pedal board, and I have everything running through Ableton, so I can go from song to song. It works well with our stage setup, and it also keeps our effects in time, or my effects in time. Also, the guitar effects I’m using on stage are just Native Instruments’ Guitar Rig – they sound great.
DJ LIFE: What else?
Hahn: I also have some MIDI Fighters to trigger sounds and have some additional effects, if need be. And then, in addition to that, I am triggering via Ableton. I have samples that are being triggered by the Embodme Erae Touch, which is a touch pad that illuminates. It’s got a perforated rubber skin on top. The inventors are from Paris – they got started on Kickstarter a few years ago – and they’re actually about to launch their next version.
DJ LIFE: What’s generally been the recording process? What sounds are you using and manipulating? Who runs the show?
Hahn: I would say, definitely Mike [Shinoda]. He’s playing more of a lead role in the producer seat. He’s doing the most on the vocals – I don’t rap. He’s super-talented, so we’re usually working at his house, and then we just sit around the studio and we just pull up tracks. Some of them are just maybe a riff idea, a beat idea. Some of them are more developed, and then we just comment on the songs and what we want to hear and when. For me, when I’m doing that, I’m not really wearing the hat of a DJ. It’s just us as a band. Nobody’s really thinking of their instrument, in particular. In fact, anyone can pick up a guitar at any point and play or pick up any instrument, and that happens a lot.
DJ LIFE: A pretty loose environment…
Hahn: Yeah, and now we have Colin [Brittain], our new drummer – he’s a great producer. He plays every instrument. So, we sit around and we’re like, “OK, we like this chord idea, but what if we did it this way instead?” It’s more about just finding the right feeling of things and then, once we get the right feeling, it starts to become a song, because we establish what the parts are. Usually, we try to see if there’s a decent energy for a chorus. Then, we decide if we should just keep chasing this one down, or maybe just put it to the side for later. We end up having a lot of songs that we have fun making, but they don’t always make it to the finish line.
DJ LIFE: After that sonic journey, of sorts, how do you fit in the lyrics?
Hahn: Once it starts to have a vibe, as far as the sonic journey happens, we try to get words on it as soon as possible… because sometimes we’ll develop the sound so far, and then when the vocals aren’t really driving… then it’s been a massive waste of time to do that. We’ve done records where we’ve had more than 100 song ideas… but you know pretty quickly if something has potential. Then, this also being the digital age, it’s all in the hard drives, too. So, sometimes we’ll go back to a song just for one part that we like. We’ll dissect it and start a new one with parts that we do like and give some fresh air to it.
DJ LIFE: On this tour, your scratch solo working with the drummer, Colin, is a real show-stopper. The two of your create a different kind of energy, a real arena-rock approach. What went into that and how do you determine how to fit it into a two-hour show?
Hahn: From our first album, we had “Cure for the Itch,” and that was a DJ-solo moment, and we figured, instead of just having multiple encores to give the vocalist breaks, that would be a good opportunity to keep the show going. So, with this one, Colin and I just got together, and made this in a day. We made three different beats that could have potential for that section. And then we just picked the one that we like. It’s fun. It’s just jamming, but a different kind of jamming. It’s kind of cool, too, because it’s almost like you don’t see that kind of thing too much anymore.
DJ LIFE: How do you view the turntablist scene these days?
Hahn: I’m less hyper-focused on what other DJs are doing because I found a lane where I can be creative. But I would say that the DJs today are incredible, especially the ones that incorporate the traditional elements of turntablism and use the digital tools, the cue points and being able to move a lot quicker. Instead of fumbling with records and trying to find the right spot, it’s pretty wild what some of these guys are doing.
DJ LIFE: Can you give me a few DJs who have most impressed you?
Hahn: I would say first… Mix Master Mike. He’s just on. He has every level skill, showmanship, versatility. He’s all about the energy. He’s got a big persona, which I really love. He might be one of the all-time greats. And QBert – you can’t really have a conversation about DJing without QBert.
DJ LIFE: Might as well include all the Invisibl Skratch Piklz…
Hahn: [Laughs] Yeah, true. But if you’re talking about turntablism, there are so many, like The X-Ecutioners. It’s everything they contributed, but it’s also their attitude about passing the information onto the next generation. I appreciate things like Dirtstyle Records and all those scratch records because people are still using them. All of them were complete pioneers.
DJ LIFE: Anyone else?
Hahn: If you advance forward to stuff that’s more relevant in a pop culture, you have guys like Skrillex. A lot of the DJing today, which you would go to a big festival for and see, is these guys that make music and they perform as DJs. Some of them have become actual DJs that like the art form, and then some of them are just using it as a performance tool. But I like the way Skrillex has done it just because of the energy he puts in and all the influences that he brings to the table and he has an evolution to what he’s doing.
DJ LIFE: Right, he was a singer in a screamo band…
Hahn: And Zedd was in a metal band with his brother [laughs].
DJ LIFE: Look how that all ended up…
Hahn: I know, they’re all so talented in their own ways.
DJ LIFE: So… tough one here: After Chester passed, how difficult was it to continue the band? Was there a turning point where you decided to carry on?
Hahn: Depending on what time you asked me after that time, I probably would’ve said that it was impossible to do this again. I’m really grateful, but it was a series of events. It was wishful thinking, but also just us healing, and eventually having appreciation for each other and knowing that we’re in it together. We wanted to get back to the point where it’s like, “OK, let’s make music.” We like to make music and we like to make music with each other. When we realized that it didn’t have to be a Linkin Park thing… it was just me, Mike and Dave [Farrell] realizing that this is what we like doing, so let’s get back to that. If it becomes a Linkin Park thing, cool. Or if not…
DJ LIFE: This is what you do – you make music, no matter what it’s called.
Hahn: Right, so once we put that into practice, the things that we created also created reasons for having conversations. We had to get to that place where we asked, “What if this? What if that?”
DJ LIFE: Eventually, the group took on two really talented musicians…
Hahn: They’re incredible, and we all adore each other and love being around each other. The friendship is genuine and us creating music together is the big catalyst for that. It’s not just, “OK, this guy will fill this gap.” It’s more than the math of putting a band together. Like, there are incredible musicians and singers out there, but who can you stand being around? Who would you invite to dinner with your family, you know?
DJ LIFE: Sounds like you’re in a good place now…
Hahn: We’re really enjoying what we’re doing. The band is very loved. People love the band in different ways that are very personal to them. So when we announced that we were doing this again, there was a big celebration. But along with that came a lot of expectations. For us, it’s never been about “OK, let’s please everyone.” It’s been more about “let’s please ourselves and make good music.”
DJ LIFE: You’re also a video director of the group, which entails telling stories in a different way. How satisfying is that role?
Hahn: It depends on when you ask me [laughs]. It can be very stressful. I take it really seriously. I owe it to my brothers and sister to do the right thing and try to find something that has meaning. When we did “The Emptiness Machine,” for example, I had a hard time trying to figure it out. Part of it was that I wanted to represent some flavors of what makes it a bit nostalgic, but wanted to present it in a whole new way. I wanted to do something visually captivating, but I also wanted to capture the essence of who we are. Talking to Mike, we were riffing on the idea of a multiverse concept, which everyone is familiar with the movies now. I really wanted to show the joy of us doing it altogether.
DJ LIFE: I was at the Amsterdam Dance Event recently and I heard Markus Schulz, a trance DJ/producer, play his tribute remix of “In the End” and the crowd went nuts. Why do you think, after all these years, Linkin Park’s music has resonated so deeply with so many people?
Hahn: Oh, cool! So… I think you get a different answer from different people. I think it was the time it came out. It was a radical concept, but once you take out the novelty of it, it was just a good song. People’s emotions are attached. In the way a solider can have PTSD from a negative experience, with music… it can be a positive thing. Or it can be like people think, “Oh, this song represents a relationship, or it represents good time in my life, or it represents a tough time that I had to get through.” Or they just like the song because they like to sing it at karaoke [laughs].