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Two weeks ago, Linkin Park fans had no clue if they would ever hear totally new music from the band again. This week, not only is the band back playing arena shows, but they also have a brand-new single — and it’s their highest-peaking Billboard Hot 100 hit in 15 years.

“The Emptiness Machine” is the first release from the legendary nu-metal band with their new lineup — including new lead singer Emily Armstrong, who replaces the late great Chester Bennington, and new drummer Colin Brittain, who takes the sticks from Rob Bourdon after two decades as the band’s timekeeper. The new song debuts at No. 21 on this week’s Hot 100 (dated Sept. 21), LP’s highest placement on the chart since Transformers: Revenge of the Fallen soundtrack single “New Divide” reached No. 6 in 2009.

Why has the song achieved such quick success? And how much does it feel like classic Linkin Park? Billboard staffers discuss these questions and more below.

1. “The Emptiness Machine” debuts at No. 21 on the Billboard Hot 100 this week. Is that higher, lower, or about where you would’ve expected it to land in its first week?

Anna Chan: No. 21 feels about right. Curiosity about new singer Emily Armstrong was bound to generate a bunch of streams anyway, whether from longtime fans of the band, or younger listeners who have grown up with the more recent batch of strong female hard rock vocalists.

Kyle Denis: Honestly, higher. It’s not like hard rock songs are proving to be first-week Hot 100 smashes in this era and there’s always going to be some skepticism when a band announces a new lead singer, especially one who has to fill the massive shoes of the late Chester Bennington. I’d say that a No. 21 is a massive win for Linkin Park. 

Josh Glicksman: It’s generally in line with what I expected. Had “Lost” not debuted at No. 38 last year, I may have guessed Linkin Park coming in a bit lower with “The Emptiness Machine,” but given the precedent — combined with the large amount of buzz surrounding the mysterious countdown clock on the band’s official website in the days leading to its release — a nice bump up from the former track makes sense. And with the new single arriving Thursday night, some of the initial plays fell into the prior tracking week, likely costing it a few slots higher on the chart.

Jason Lipshutz: Higher. Although “Lost” debuted in the top 40 of the Hot 100 last year, the excavated Meteora track came from one of their most commercially successful eras; the fact that “The Emptiness Machine” debuted even higher, with a new co-vocalist helping lead the way and at a time when hard rock songs seldom make the upper reaches of the chart, is a pretty startling development, and speaks to the fan enthusiasm around the return of Linkin Park. The band likely believed in the song’s potential as a rock and alternative chart mainstay, but scoring a No. 21 debut on the Hot 100 is a dream scenario for their comeback.

Andrew Unterberger: Unquestionably higher. It’s really, really hard for a legacy rock band to even crack the Hot 100 these days, let alone land in the top 25 the week’s top debut. It helps that Linkin Park is a little younger (and still sounds significantly more contemporary) than fellow veteran rock radio mainstays like Green Day, Foo Fighters and Red Hot Chili Peppers, but even still, a No. 21 debut for a new song — with a new lead singer who a lot of LP fans probably didn’t even know existed two weeks ago, no less — is very, very impressive.

2. Between “Machine” and 2023’s rediscovered Meteora-era cut “Lost,” it’s two top 40 hits now for Linkin Park this decade — already matching their total for the entire 2010s. Why do you think Linkin Park have managed to maintain such high levels of interest when most other popular rock bands who have been around for 20-plus years struggle to land such chart placements?

Anna Chan: “Lost” had the benefit of featuring the late, great Chester Bennington’s vocals, something that, as co-frontperson Mike Shinoda himself told our very own Jason Lipshutz, fans had been asking the band for “for years.” Give, and ye shall receive the streams. Then a mere year after the track’s arrival and seven after Bennington’s death, a woman steps in as co-lead singer for the rocker who was No. 34 on Billboard‘s Best Rock Singers list with a new song, and people were going to tune in, whether to rejoice at the return of the band, the aforementioned curiosity, or simply to find something to complain about, whether rightfully so or not. That’s a lot of drama — let’s not even get into the Scientology of it all — that can’t be duplicated. (And please don’t get any ideas, Soundgarden.)

Kyle Denis: Outside of them being one of the best popular rock bands on their era, I think Linkin Park has maintained such high levels of interest because they’ve sort of naturally let different pockets of music intersect with the band’s music without sacrificing or compromising their foundational sound. They have timeless crossover smashes (“In the End,” “Numb”) and projects that brought them further into the hip-hop space (their underrated 2004 Collision Course EP with Jay-Z), but it never felt like the ethos of the band had shifted in relentless pursuit of mainstream commercial wins. In that vein, their commitment to rock continues to feed audiences who may not satisfied by how pop-facing popular rock bands of the 2010s are/have become. 

Josh Glicksman: It’s not easily quantifiable, but Linkin Park has married its following of the deeply devoted fanbase it created in the first decade of the 2000s with Gen Z listeners curating their own tastes in music. Some of that may have to do with the band having larger-scale, longer-lasting hits than its counterparts; it could be helped by Mike Shinoda leaning into working with artists of the next generation; and it certainly could be fueled by fans wanting to preserve and honor the legacy of Chester Bennington. Whatever it is, clearly the appetite for Linkin Park is as strong as ever.

Jason Lipshutz: To me, the chart success of “Lost” last year and “The Emptiness Machine” this month can be chalked up to a combination of the quality of the songs, enduring interest from a huge fan base, and a historical re-assessment of Linkin Park. While “Lost” is classic Linkin Park, an electro-rock anthem buoyed by Chester Bennington’s singular voice, “The Emptiness Machine” kicks off a new era with passion and personality; they both speak to different factions of the same fan base, who have remained loyal to the band for the seven years between Bennington’s tragic death and the recent reformation. And the band’s sonic evolution across their discography has produced an enviable supply of hits and signature moments; I don’t doubt that a lot of listeners who weren’t paying attention during Linkin Park’s heyday (or were too young to do so) streamed “Lost” and “The Emptiness Machine,” and helped turn each into a top 40 hit.

Andrew Unterberger: Linkin Park just still make a little more sense in the streaming era than most of those bands, a virtue of its hybrid (yes, yes) sound and heavy production. That, combined with both the songs being very solid — and with the devastating and cruel way in which the band’s original run came to an abrupt end in 2017 — means that perhaps we were silly to underestimate the commercial potential for these tastes of new LP in the first place.

3. While “Lost” ended up being a majorly enduring rock radio hit, it only spent two weeks total on the Hot 100. Do you think the run for “Machine” on the chart will be similarly short-lived, or will it have greater legs?

Anna Chan: Let me shake my Magic 8 Ball, because I have no idea due to the confusing combo of nostalgia (yay!) and criticism (boo!). But since you asked, my guess is the chart run will be short-lived because the curiosity around Armstrong will fade. And while fans may have been elated about the band’s return after a lengthy hiatus, the quick backlash to having a singer with ties to convicted rapist Danny Masterson may hurt their overall momentum. (For the record, Armstrong has since addressed the issue, saying that she shouldn’t have supported Masterson at a court appearance — noting, “I misjudged him” — and that she hasn’t spoken to him since, and doesn’t condone any abuse or violence against women.)

Kyle Denis: I think off the basis of “Machine” being the lead single for a new album, it should have more juice behind it, and thus score a few more weeks on the Hot 100 than “Lost.”

Josh Glicksman: I don’t expect it to hang around too much longer than “Lost” on the Hot 100, though it may eke out another few weeks. That said, I fully expect the song to similarly dominate rock radio for many months to come, with the single soaring to No. 1 on the Rock & Alternative Airplay chart following its first full tracking week. “Lost” spent 20 weeks atop that chart; I’d guess that “The Emptiness Machine” will at least match that total.

Jason Lipshutz: “The Emptiness Machine” sounded like a straightforward rocker built around the dueling voices of Mike Shinoda and Emily Armstrong to me upon first listen, but the single has grown on me rapidly — I love how its momentum snowballs over the first two verses and choruses, pulls back during the harmonized bridge, then goes for the jugular on the final hook. Although I don’t think it will maintain its Hot 100 peak for long, I do believe its run on the chart will surpass that of “Lost,” as streaming audiences help bolster the early adoption from rock radio. The No. 21 debut defied the odds, and I think the breadth of its Hot 100 run will do the same.

Andrew Unterberger: Its greater debut and more interesting backstory might grant it another few weeks, but I don’t really see this being a much-longer-lasting Hot 100 hit, no. Its sales and streams already seem to be tapering off — though to be fair, not as quickly as with some other splashy-debuting new releases — and it’s unlikely pop radio is coming to swoop in with this song anytime soon.

4. Do you think “Machine” captures the spirit of classic Linkin Park? Does Emily Armstrong seem like a logical fit as the band’s new frontwoman so far?

Anna Chan: It’s too early to judge based on just one song whether or not she’s a good fit. However, this rock-leaning music fan is eager to hear more from Armstrong. Her first verse in “The Emptiness Machine” didn’t grab me, but when she gets to the chorus and lets her raw, guttural vocals come out? Wooo! I’m letting Linkin Park cut me open just to jam more music into my ears.

Kyle Denis: For me, Chester’s voice is such a quintessential part of the band’s sound, that it still feels odd not hearing him. Nonetheless, I like hearing Emily on the record, it’s fun hearing her push her voice further than you’d expect before giving into a growl or a scream. She’s able to balance vulnerability and high-octane vocal thrills pretty effortlessly, which makes her an effective new frontwoman. 

Josh Glicksman: Yes! It feels refreshed and modern, but perfectly at home in the canon of everything that has endeared the band to fans for the past 25 years. Armstrong feels like a logical fit as the band’s new frontwoman — and, importantly, she’s both honoring its legacy while giving the music her own touch, as she discussed in her Billboard cover story: “Going into these [older] songs, by a singular voice that’s beloved by so many people — it’s like, ‘How do I be myself in this, but also carry on the emotion and what he brought in this band?’ … There is a passion to it that I’m hoping I can fill.”

Jason Lipshutz: What I love about this new iteration of Linkin Park is that songs like “The Emptiness Machine” exist in the same universe as the band’s biggest hits, but expand it into new terrain instead of trying recapture any past magic. That’s why Armstrong works so well as a new co-vocalist: she can sing the hits in a live setting, but instead of functioning as a Chester Bennington impersonator, she helps the band grow in a different direction and balance out Shinoda in striking, unexpected ways. As someone who has heard more of From Zero than just “The Emptiness Machine,” I can say that I was impressed with the balancing act that the band pulls off — honoring their past without re-creating it, harkening back to earlier eras while making something new.

Andrew Unterberger: Ironically, the least classic Linkin Park-seeming part of this song is Mike Shinoda singing (not rapping) on the first verse — when Armstrong comes in on the second verse (and especially when she kicks in with the chorus), it feels almost like a correction to the natural order of things. Maybe that was the plan all along; if so it seems to have worked!

5. With Linkin Park and Oasis reuniting in 2024, who’s another long-dormant rock band who you’d love to see get back together in the not too distant future?

Anna Chan: What’s your definition of “long-dormant”? Because for greedy ol’ me, Nine Inch Nails has been too busy with the movie scores as of late, and I need them to get back in the recording studio and on the road. (And no, that 2022 tour that hit only 10 U.S. cities doesn’t count in my book, while the Cold and Black and Infinite tour was six long years ago.)  I’d also appreciate if Rage Against the Machine would reunite and finish up the tour they cut short in 2022 (this political climate is begging for them) — or if The Cure (who might be teasing new music?) would do another trek so I can have a shot at tickets next time around.

Kyle Denis: Wishful thinking, but The White Stripes! 

Josh Glicksman: Talking Heads. Sure, they’ve notably rebuffed a reunion several times in recent months, but give the people what they want! Even just a small handful of new singles will suffice.

Jason Lipshutz: As of this July, Jack White has released exactly as many studio albums under his own name as he did alongside Meg White as The White Stripes. It is time to tip the scales once again — we simply need the duo back, and the first White Stripes album since 2007.

Andrew Unterberger: There have whispers about Radiohead reassembling of late — still pretty quiet ones, but loud enough to remind me how it’s been eight years since their last album and six since their last tour. (And how they’re, y’know, one of the best bands ever.)