What could be more fitting than seeing Deftones at the Co-Op Live on Valentine’s Day? It was almost as if it was written in the stars. In all seriousness though, it made for the perfect opportunity to experience and witness one of the most influential bands. They paved the way for being considered one of the most respected bands emerging from the late-’90s metal scene, delving into the sounds of nu-metal, alternative metal, and shoegaze.
First up were the American post-hardcore and punk band Drug Church, who wasted no time in getting the crowd to mosh and bounce up and down with chaotic energy. Where vocalist Patrick Kindlon’s harsh vocals tore through the speakers while jagged punk rock and hardcore riffs crashed together in synchronicity.
During the set, Kindlon exclaimed jokingly that during the tour, they had set a goal of having a certain number of crowd surfers. Previously, they had the goal of 100 crowd surfers; on this very night, that had increased to 150 crowd surfers. From what I could see, I think Drug Church managed to achieve this. As 150 bodies were seen flying overhead. While they made their way to the front. The band also called for a circle pit, and the crowd obliged on cue. Kindlon stated that it did not matter if you were a metalhead, nu-metalhead, or “alt goth baddie”. He wanted everyone to move to the band. The last song Weed Pin opened with a pop-punk sounding intro and led the way of blending gritty hardcore soundscapes with tones of alt-rock hooks. It left the audience feeling both sweaty and messy. Exactly what hardcore is about.
Up next was Floridian rapper Denzel Curry, who comes as no surprise to anyone when he is known for being a high-intensity, passionate, and energetic rapper. Blending hip-hop with introspective lyricism, experimental soundscapes, and aggressive delivery, his 45-minute set was a non-stop fusion of groovy hip-hop beats and sonic diversity. Curry came to the stage and performed with the same precision that Drug Church brought before.
Curry recently dropped Hive Mind, a track with the one and only Knocked Loose. Where this was an unexpected crossover, it made total sense in the end. Paving the way for influencing and changing the sound of the hardcore and metal scene. It has already been anticipated as being one of the top songs of 2026, even though the year’s music scene has only just begun.
During the set, Curry continued to shout “Hell yeah”, while demanding that the crowd wave their hands in the air. The audience wasted no time in erupting into a surge of energy, as drinks went flying overhead. Throughout his set, this energy continued, and it was full of life. As I was seated this time around, I felt like I was missing out on the action and wanted to join in. Curry kept checking in with the audience, too. He importantly reminded everyone that if someone falls, you instantly pick them up, especially when it comes to respecting women in the mosh pit.
As the set came closer to an end and with only “four songs left,” he warned us and exclaimed that “this is the hypest part of the motherfucking set.” Curry was not lying. Ending his set with a thrash-rap cover of Rage Against The Machine’s Bulls On Parade, that gave the crowd one last momentum before the acclaimed band Deftones entered the stage.
Now it was finally time for the headliners we had all been waiting for with anticipation: Deftones. The minute the band stepped onto the stage, the crowd instantly went insane. As they had been eagerly waiting in anticipation and wasted no time in showing their appreciation for the band. As soon as they started to play, they sounded exactly the same live as they do on record. This somehow felt surreal for a band with such a long legacy.
Deftones instantly drew the audience in with the perfect opener of Be Quiet And Drive (Far Away). As the hit and nostalgic-sounding song unfolded, waves of shimmering guitar tones and that familiar swell of distortion washed over the crowd, creating this bittersweet atmosphere that felt both intimate and massive at the same time, like being suspended between memory and motion.
Ecdysis started with a bass soundscape intro with the intensity of a dominating guitar tone that is the crux and drives the energy of the track. Depicting imagery of plagues, fires, and floods, it builds with this relentless momentum that feels almost suffocating. Suggesting this theme of destruction that leads to this sense of rebirth and the notion of it bringing change, the track feels chaotic yet cleansing, like shedding an old skin.
The song Digital Bath carried this hypnotic, almost dreamlike presence, with its glistening electronics and slow-burning tension. The softness of the verses contrasted with the weight of the chorus, creating this eerie calm that felt fragile, as if something darker was always lurking just beneath the surface, giving the song a haunting and intimate edge live.
Then, My Mind Is A Mountain depicted a theme of the turmoil of inner struggles, felt heavy both sonically and emotionally. Almost like climbing a mountain with one’s mind and how that explores the themes of endurance, but also the mental battles it can bring and the idea of being able to show strength and resilience. The slow build and crushing instrumentation made it feel physically demanding, mirroring that uphill fight.
Rosemary, another Deftones classic, unfolded with this slow, atmospheric burn, drenched in reverb and spacey textures that felt almost cosmic. It gradually expanded into something heavier and more explosive, creating this sense of floating before suddenly being pulled back down to earth, balancing beauty with weight in a way that felt completely immersive. Where Change (In The House of Flies) brought a darker, moodier shift, its brooding bass-line and restrained verses creating this tension that simmered rather than erupted. The repetition and minimalism gave it an unsettling edge, reinforcing themes of transformation and unease, like stepping into a version of yourself you barely recognise.
Bringing it back with the newer sound, Milk Of The Madonna, which is one of my favourites from the new material, and in a live setting, perfectly ignited the stage with soaring vocals from Moreno, which cut through the atmospheric tones of the song, amplifying this intensity and feeling of being ritualistic. It depicts themes of holy fire, storms, and the notion of intoxication. Especially with the repeated lyrics of “I’m on fire”, creating a theme of chaos and blurring the sense of the juxtaposition of destruction with transcendence.
As the night drew to its climactic end, the encore of Cherry Waves, My Own Summer (Shove It) and 7 Words closed the night with pure catharsis. Cherry Waves washed over the room with emotion and vulnerability, My Own Summer bringing that raw, crushing riff that immediately sent the crowd surging, and 7 Words ending things with unapologetic aggression, a final burst of energy that felt loud, messy, and completely freeing.
Words by Zena Morris
