Entering Crystal Palace Park, there's a tangible sense of both anticipation—likely fueled by the crowd seeking any shade on this sweltering day—and relief among those fortunate enough to find it. Those gathered can sense that they are about to experience a pivotal moment for Deftones, who only the day before had to cancel their Glastonbury performance due to illness. Opening the show, HEALTH showcases their 18-year evolution from an elusive, glitchy electro-metal sound to a distinct style of industrial shoegaze. Songs like ‘HATEFUL’ and the Rammstein-like ‘DSM-V’ combine heavy elements with ethereal qualities. Their sound could easily fit a venue like Berghain, but today they electrify the audience in South London.
Contrastingly, the lively London indie hardcore band High Vis seem both excited and bewildered to be performing, as they energetically set the stage for the pop-rock sensation Weezer. Rivers Cuomo and his bandmates casually take the stage to present a selection of greatest hits that spans over 30 years. The following hour turns into a massive singalong, with highlights including ‘Why Bother?’, ‘My Name Is Jonas’, ‘Undone - The Sweater Song’, and ‘Beverly Hills.’ The performance is nearly flawless (aside from some typically awkward stage banter) and culminates with thousands of fans enthusiastically air-guitaring to ‘Buddy Holly.’
As the intense sunlight finally sinks behind the trees, the lights illuminate the stage, and Deftones dive straight into two of their biggest hits from their second album, ‘Around The Fur,’ released in 1997. While ‘Be Quiet and Drive (Far Away)’ might seem an unconventional choice for an opening song, it resonates deeply today; following it with ‘My Own Summer (Shove It)’ pays homage to long-time fans. In the ‘90s, Deftones may have been classified within the nu-metal genre, but the new millennium brought an album that directed them down a unique path. The intense, otherworldly—almost romantic—choruses of songs like ‘Change (In The House Of Flies)’ from the 2000 album ‘White Pony’ (with Chino Moreno performing against a stunning backdrop of a slowly rising sun) and ‘Hole In The Earth’ from the 2006 album ‘Saturday Night Wrist’ not only showcased their talents as remarkable musicians but have also attracted a new fanbase in recent years. A significant portion of tonight's audience—around 20%—might not have been born when the first two tracks of this set were originally released, yet a resurgence, driven by algorithms, finds them singing along passionately.
Deftones’ extensive discography is fully represented tonight. ‘Genesis’ and the title track from 2010’s ‘Diamond Eyes’ are both incredibly heavy and beautiful—comparable to a sultry Meshuggah—while ‘Swerve City’ has the crowd bouncing in synchrony. Their softer tracks, ‘Sextape’ and ‘Digital Bath,’ add contrast throughout the set. They do not shy away from their roots either. Closing the show, Deftones return to their beginnings with ‘Bored’ and ‘7 Words,’ both from their 1995 debut album ‘Adrenaline,’ making sure that every attendee—regardless of which era of Deftones they support—leaves knowing they've experienced something truly unforgettable.
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