Deftones have postponed their North American tour until 2022


Deftones have been forced to postpone their North American tour until next year, it was announced yesterday.

Originally set to take place next month, Deftones said that due to “the imminence of the tour, and the pandemic lasting longer than we anticipated, we came to the realisation that uncertainty still remains in different markets throughout the country”.

The statement from the band continued: “This is not an easy decision, but one we felt necessary. Giving this tour a little more breathing room will give space to, and help ensure we can make every date with confidence.”

The rescheduled dates will kick off next April in Portland, Oregon, with the trek now featuring an additional three dates, taking place in Las Vegas, Cincinnati and Nashville. Find all dates below.

In 2020, Deftones’ live stint was slated as being in support of their ninth studio album, ‘Ohms’, released last September. The new itinerary means the album will receive its live support 18 months after its initial release.

The tour – which would have seen French heavy metal outfit Gojira accompany the band on the road – had already been postponed from 2020 due to the ongoing pandemic.

While Gojira will still appear on the new bill, Poppy – originally on the 2020 lineup – will not perform next year.

The Deftones 2022 North American tour dates are:

Thursday 14 – Portland, Veterans Memorial Coliseum
Saturday 16 – Seattle, WaMu Theatre
Monday 18 – San Francisco, Bill Graham Civic Auditorium
Wednesday 20 – Los Angeles, Greek Theatre
Friday 22 – Las Vegas, The Cosmopolitan
Saturday 23 – Phoenix, Arizona Federal Theatre
Monday 25 – Denver, Ball Arena
Thursday 28 – Albuquerque, Isleta Amphitheatre
Saturday 30 – Houston, White Oak Music Hall

Monday 2 – Irving, The Pavilion at Toyota Music Factory
Tuesday 3 – San Antonio, AT&T Center
Friday 6 – Atlanta, Cadence Bank Amphitheatre at Chastain Park
Saturday 7 – Nashville, Municipal Auditorium
Sunday 8 – Cincinnati, ICON Music Center
Tuesday 10 – Indianapolis TCU Amphitheater at White River State Park
Wednesday 11 – Pittsburgh, Petersen Events Center
Friday 13 – Boston, Agganis Arena
Saturday 14 – Asbury Park, Stone Pony Summer Stage
Sunday 15 – New York, Pier 17
Tuesday 17 – Washington D.C., The Anthem
Wednesday 18 – Philadelphia, The Met
Thursday 19 – Uncasville, Mohegan Sun Arena
Saturday 21 – Laval, Place Bell
Sunday 22 – Toronto, Echo Beach
Tuesday 24 – Detroit, Michigan Lottery Amphitheatre at Freedom Hill
Thursday 26 – Milwaukee, Eagles Ballroom
Friday 27 – Chicago, Huntington Bank Pavilion at Northerly Island
Saturday 28 – Minneapolis, The Armory

The post Deftones have postponed their North American tour until 2022 appeared first on NME.

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DEFTONES And GOJIRA Postpone North American Tour Until Spring Of 2022

DEFTONES have postponed their previously announced North American tour with GOJIRA until the spring of 2022.

The trek was originally scheduled to take place last summer before being pushed back, due to the COVID-19 pandemic, to August and September of this year.

Earlier today, DEFTONES issued a statement on social media once again announcing the postponement of the tour. The Sacramento, California-based act cited the “uncertainty” related to the coronavirus crisis in “different markets throughout the country” and explained that it did not want to be “in a situation where shows have to be adjusted or cancelled on short notice for any guideline adjustments or reconsiderations while we are on the road.” DEFTONES also said that the tour’s original opening band, POPPY, would not take part in the rescheduled dates.

DEFTONES wrote: “As everyone knows, difficult decisions are a part of life, and we faced one recently. After much contemplation, we’ve made the decision to postpone our summer tour with GOJIRA one more time.

“As passionate as you are about seeing us, we are even more so to be back on stage together again. With the imminence of the tour, and the pandemic lasting longer than we anticipated, we came to the realization that uncertainty still remains in different markets throughout the country. We do not want to be in a situation where shows have to be adjusted or cancelled on short notice for any guideline adjustments or reconsiderations while we are on the road.

“This is not an easy decision, but one we felt necessary. Giving this tour a little more breathing room will give space to, and help ensure we can make every date with confidence.

“We can’t thank you enough for your patience so far, and keeping with it just a bit longer. April will be here before we all know it.

“If you bought tickets for one of the 2021 shows and cannot make the rescheduled show, you will receive an e-mail directly allowing you to request a refund. For more details, please visit Please hold on to your tickets, as they will be honored for the 2022 dates. Thank you for your patience and understanding.”

“Tickets for the added dates (Las Vegas, Cincinnati, Nashville) go on sale Friday, 7/16 @ 10AM local.

“(Note: POPPY will not be joining us on the rescheduled North American dates)

“See you all soon.”

DEFTONES and GOJIRA 2022 tour dates:

Apr. 14 – Portland, OR – Veterans Memorial Coliseum
Apr. 16 – Seattle, WA – WaMu Theatre
Apr. 18 – San Francisco, CA – Bill Graham Civic Auditorium
Apr. 20 – Los Angeles, CA – Greek Theatre
Apr. 22 – Las Vegas, NV – The Cosmopolitan (new show)
Apr. 23 – Phoenix, AZ – Arizona Federal Theatre
Apr. 25 – Denver, CO – Ball Arena
Apr. 28 – Albuquerque, NM – Isleta Amphitheatre
Apr. 30 – Houston, TX – White Oak Music Hall
May 02 – Irving, TX – The Pavilion at Toyota Music Factory
May 03 – San Antonio, TX – AT & T Center
May 06 – Atlanta, GA – Cadence Bank Amphitheatre at Chastain Park
May 07 – Nashville, TN – Municipal Auditorium (new show)
May 08 – Cincinnati, OH – ICON Music Center (new show)
May 10 – Indianapolis, IN -TCU Amphitheater at White River State Park
May 11 – Pittsburgh, PA – Petersen Events Center
May 13 – Boston, MA – Agganis Arena
May 14 – Asbury Park, NJ – Stone Pony Summer Stage
May 15 – New York City, NY – Pier 17
May 17 – Washington DC – The Anthem
May 18 – Philadelphia, PA – The Met
May 19 – Uncasville, CT – Mohegan Sun Arena
May 21 – Laval, QC – Place Bell
May 22 – Toronto, ON – Echo Beach
May 24 – Detroit, MI – Michigan Lottery Amphitheatre at Freedom Hill
May 26 – Milwaukee, WI – Eagles Ballroom
May 27 – Chicago, IL – Huntington Bank Pavilion at Northerly Island
May 28 – Minneapolis, MN – The Armory

DEFTONES‘ ninth album, “Ohms”, was released last September via Warner. The LP was recorded at Henson Studios in Los Angeles, California and Trainwreck Studios in Woodinville, Washington with veteran producer and engineer Terry Date, who previously worked on 1995’s “Adrenaline”, 1997’s “Around The Fur” and 2000’s “White Pony”.

Thank you all for your patience and understanding. If you bought tickets for one of the 2021 shows and cannot make the…

Posted by Deftones on Friday, July 9, 2021

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Members of Deftones, Killswitch Engage, In Flames and more deliver heavy metal cover of Björk’s ‘Hyperballad’

For the latest instalment of his Two Minutes To Late Night series, YouTuber Jordan Olds has recruited members of Deftones, Killswitch Engage and In Flames to cover Björk’s ‘Hyperballad’.

‘Hyperballad’ first appeared on Björk’s second album, ‘Post’, which she released in the early months of 1996 to critical acclaim. The track has been a favourite of fellow pop acts to cover, with names like Robyn, the Dirty Projectors, Yeah Yeah Yeahs and John Nolan (of Taking Back Sunday fame) all putting their own spin on the folky synthpop classic.

This latest version – featuring Stephen Brodsky (of Cave In, Mutoid Man and Old Man Gloom) on vocals, Sergio Vega (of Deftones and Quicksand) on bass, Adam Dutkiewicz (of Killswitch Engage) on drums, Tanner Wayne (of In Flames) and Ben Chisholm (of Chelsea Wolfe) on guitars – trades the original’s glittering keys, spacey synth warbles and soft drums for crunchy, overdriven guitars and thrashing percussion.

Watch the Two Minutes To Late Night cover of ‘Hyperballad’ below.

The ‘Hyperballad’ cover marks a comeback for the Two Minutes To Late Night series, which was last updated in March with a redux of The Rolling Stones’ ‘Rocks Off’ featuring members of Kvelertak, Royal Thunder, Against Me! and Red Fang.

Download Festival adds Deftones, Korn, Megadeth and more to 2022 line-up

Download Festival has added over 70 bands to its 2022 line-up, including Korn and Deftones.

The festival announced the cancellation of its 2021 event last month, confirming it would return to Donington Park next June with headliners KISS, Iron Maiden and Biffy Clyro.

Now, a host of new acts have been announced to join the trio from June 10-12 2022. Alongside Korn and Deftones next year will be Funeral For A Friend, Megadeth, Descendents, The Pretty Reckless, Rise Against and many, many more.

See the up-to-date Download 2022 line-up below.

Back in January, the organisers of Download had said that the festival aimed to still go ahead in 2021. “Rest assured we’re continuing to work behind the scenes to get ready for Download this summer,” they wrote, before the festival was cancelled on March 1.

Meanwhile, a concert in Spain attended by 5,000 people has led to no sign of increased coronavirus infections, according to researchers. The crowd for the gig wore masks and had all tested negative for coronavirus prior to the concert, but did not have to socially distance.

A similar test event will take place in the UK this Sunday (May 2), with BlossomsThe Lathums and Zuzu set to play to 5,000 fans in Sefton Park, Liverpool which normally holds 7,500 gig-goers.

Festival Republic boss Melvin Benn spoke to NME about what fans can expect from the upcoming COVID-19 pilot gig, claiming that fans will be able to “behave as if the pandemic never happened”.

“This will be the first gig in the Northern hemisphere where it’s a proper show, with 5,000 people not socially distanced, not having to wear masks, with bars and food stalls in the arena, and it will feel like a mini version of a festival,” he said.

The post Download Festival adds Deftones, Korn, Megadeth and more to 2022 line-up appeared first on NME.

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Watch: Deftones release Ceremony video by horror director Leigh Whannell

Deftones’ 2020 album Ohms remains as awesome as ever, and the band are continuing to celebrate its success with an eerie, gripping video for Ceremony.

The Sacramento alt.metal titans teamed up with Leigh Whannell for the promo following a simple tweet from the director announcing that he was a fan. Previously, he has worked on the likes of 2020’s The Invisible Man, as well as co-creating the Saw and Insidious franchises with James Wan. The Ceremony collaboration also features Cleopatra Coleman in the video’s starring role.

I’ve been a huge Deftones fan for over 20 years and have always admired the devotion they have dedicated to every aspect of their art – from music videos to album covers to their cryptic and intriguing lyrics. To get a chance to be a part of that art was a dream come true.”

Read this: The secrets behind Deftones’ new album, Ohms: Inside the studio for the first time

Deftones frontman Chino Moreno adds: When Leigh tweeted that he was a fan, we immediately thought it would be cool to collaborate with him given the chance. We’re fans of his as well, so it made sense that we should reach out. One moment we’re DMing each other on Twitter, and the next we’re on set making Ceremony. This has always been the best way for us to collaborate: organically, collaboratively and in this case, expeditiously.”

Watch the video for Ceremony below:

Posted on April 21st 2021, 4:50p.m.

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How DEFTONES Secured ‘Invisible Man’ Director LEIGH WHANNELL For ‘Ceremony’ Video

DEFTONES have tapped Leigh Whannell, writer of the original “Saw” and “Insidious” movies and writer-director of 2018’s “Upgrade”, to direct the official music video for their song “Ceremony”. Cleopatra Coleman, who co-starred in Fox‘s “The Last Man On Earth” comedy series, will star in the clip, which is expected to be released in the coming days.

Whannell, who more recently wrote and directed a new take on “The Invisible Man”, previously expressed his appreciation for DEFTONES‘ latest album, “Ohms”, on social media last November. At the time, he tweeted: “Hello this album is excellent (probably my favourite DEFTONES ever) and you should listen to it if you like music that is heavy and beautiful simultaneously.”

Earlier today, after DEFTONES shared a poster for the “Ceremony” video, with Whannell‘s name listed as the director, he took to his Twitter to write: “One day I wrote on Twitter that I was loving the new @deftones album. The next day their manager sent me a DM asking if I wanted to direct a music video for them. I said yes. The moral of the story is talk about the things you love on Twitter, not the things you hate. Specifically I mean talk about the ART and pop culture you love, not the art and pop culture you hate. When it comes to politicians and their stupidity and insanity, all bets are obviously off.”

“Ceremony” is taken from DEFTONES‘ ninth album, “Ohms”, which arrived in September. The LP was recorded at Henson Studios in Los Angeles, California and Trainwreck Studios in Woodinville, Washington with veteran producer and engineer Terry Date, who previously worked on 1995’s “Adrenaline”, 1997’s “Around The Fur” and 2000’s “White Pony”.

DEFTONES singer Chino Moreno told BBC Radio 1‘s “Rock Show With Daniel P. Carter” about “Ceremony”: “That was one of the first songs that we wrote. But a lot of the stuff kind of comes from jamming. So ‘Ceremony’ was one of those ones where someone was just playing something, and then everybody just kind of picks up their instrument, like, Oh,’ [and] starts reacting to each other, and then it just starts to build.

“I feel like I really connected with the song,” he continued. “Lyrically, that song is pretty dark. I kind of tether with the true meaning of that song, ’cause it’s really, really, really bad. It’s not good. That’s a hard one to talk about. But as far as the music and the whole vibe, the whole song, to me, I think that it’s a special one on this record, for sure.”

DEFTONES is Moreno, guitarist Stephen Carpenter, drummer Abe Cunningham, programmer Frank Delgado and bassist Sergio Vega.

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Why it’s time to revisit Gore, Deftones’ most misunderstood record

We’ve said it before, we’ll say it again: there’s a certain absurdity when it comes to talking about Deftones’ discography. As has been well-documented by Kerrang! over the years, and even when held up against other similarly revered bands, their exalted body of work comprises some of the most innovative, influential and important records of all time. Very much the musical back-catalogue equivalent of shark teeth, pluck one classic out, another pops up to replace it.

There’s a certain temptation to claim that if any Deftones record warrants being christened their most misunderstood it would be 2006’s Saturday Night Wrist. After all, you could say that Chino Moreno was quite blunt about it back in 2016

Saturday Night Wrist is my least favourite record,” he admitted to us. That record is so unconfident – and that’s why I hate it. I don’t feel like it’s me – it’s this unconfident version of myself that doesn’t know what he’s doing.”

Here it should be stated that a) not everyone in Deftones agrees with him on its qualities and b) it contains some of their finest songs in the form of Beware, Rapture, Xerces, Cherry Waves, Combat and Kimdracula. Yep, Deftones at their most unconfident” nevertheless produced one of the best records of 2006. You could certainly argue that Saturday Night Wrist is an under-appreciated album, but one thing it is not is misunderstood. 

The inter-band squabbling. The songwriting tribulations. The excess. (“We were riding high,” grinned Frank Delgado to K! back in 2016. Very high.”) All of this is not only very well understood; it is deeply ingrained in the Deftones narrative.

No, if we’re talking their most misunderstood record, we need only travel back five years to the band’s eighth studio album, Gore. To get right to the root of why it is so excruciatingly and unfairly misunderstood, just revisit how it arrived in the public eye.

I think my proudest thing about my guitar playing on this record is just playing on the record, because I didn’t want to play on the record to begin with,” guitarist Stephen Stef’ Carpenter told

A soundbite endlessly reproduced online, it not only made it sound like Deftones’ guitarist hated their own record, it seemed a throwback to the Saturday Night Wrist days – evoking a band at creative odds with one another. This, of course, went against the perception (and reality) of how they had so movingly reconvened for Diamond Eyes after bassist Chi Cheng suffered the horrific car crash that would, after years in a coma, claim his life. 

Principally, two things got lost in translation upon Gore’s arrival. The first is the blunt-force honesty and forthrightness that makes Stef, Stef. In a world of manicured press statements from bands, his ability to just speak his mind in the moment is – alongside his guitar playing, natch – his superpower.

People are saying, Are you mad about what Stef said?’” Chino told Kerrang! at the time. Fuck no! That’s Stephen! He says that shit to me! I understand when he says stuff like that people are going to react in a certain way. And Stephen didn’t say it to make people react, he was just being Stephen. That’s how shit is.”

The second was this: it was also out of context. 

When I gave the interview’ I was just saying in the beginning I wasn’t too inspired by what was going on,” Stef explained. But I was really elaborating specifically mostly on one song. That one song Hearts/Wires just rubbed me wrong. I was hating on it. But once I decided to stop letting it bother me and just get down to it I found myself a place in that song. And having gone through recording the record, it’s one of the songs that I like the most now. It punished me in the beginning, but at the back of it I actually enjoyed a lot.”

So, K! asked, is he happy with Gore?

Oh yeah!” he replied. I went eight records before I had any kind of issue with an album – but I’ve already lived through two records in the past where somebody else didn’t enjoy them at all. For me to finally hit a wall, I think I lasted pretty good! Cause I’ve seen other people already buckle.”

Even when Stef ­and the rest of the band set the record straight, the narrative of disharmony continued to churn in headlines. It’s perhaps easy to understand why. To an extent, every album has a narrative and some have better stories than others that help people digest or relate to the music being presented. Diamond Eyes was the triumphant, emotional return. Koi No Yokan was proof (not that any was needed, mind) that it wasn’t a one-off. 

Gore was, perhaps, a record that had everything it needed to blow people away but a narrative. Another great album!” is not exactly what clickbait is made of. Instead of the world focusing on the music, Stef’s comments became the lens through which Gore was viewed. What’s so interesting is that we understood more about this album now, in 2021, than we did at the time. It was while talking about last year’s Ohms that Chino opened up about the Gore sessions.

When you’ve made a lot of records with the same people, everybody has to be engaged,” reflected the vocalist.​“We’ve learned the hard way. A perfect example would be Gore, when Stef basically admitted, like,​‘I didn’t have much to do with this record.’ And that was not because we didn’t want him – my favourite ideas of Deftones songs are ones that he spearheads!”

Chino proceeded to paint a picture of the Gore sessions where he, Abe, Frank and Sergio worked up songs, and Stef jumped on later to do his thing. But, Chino insisted, the narrative that Gore is a Stef-free zone is not true. He was in fact at the heart of the record’s best song: the Jerry Cantrell assisted Phantom Bride.

He was involved in Gore, let’s not get it wrong,” said Chino.​“Phantom Bride? Aside from the lyrics and drums, he wrote that all by himself. He did have something to do with the record, he just wasn’t fully engaged, and it wasn’t because we were like,​‘Our songs are better.’ It was nothing like that. He was going through something, and after the record was done he talked to me a little bit about it, like,​‘I’m sorry I wasn’t as available as I should have been.’ I was like,​‘Dude, you’re my brother, I totally understand.’ When the record came out, I think people felt that Stef wasn’t as big a part of it and that it may have suffered in certain areas because of that, so one of the most important things is that everybody is engaged and everybody is excited.”

Ohms, Chino said, was Deftones – all of Deftones – firing on all cylinders again. It was. And who doesn’t want that? 

But what’s so impressive is that Gore turned out the way it did in these circumstances. Seriously, listen again five years on. It is an embarrassment of riches.

Everyone loves Phantom Bride and we’ve already addressed its genius, so let’s just take a scan at its tracklist’s other inhabitants. Geometric Headress is, flat out, one of Deftones’ most melodically graceful songs. Acid Hologram’s slow-motion doom rumble? Excellent, and a bit spooky. The thrashy, propulsive verses of Doomed User? Open the pit! Even the fact that a song as wonderfully atypical and arty as Prayers/Triangles was the lead single? A testament to a band still taking risks. As for Hearts/Wires – the song that was the source of so much strain – it’s a masterclass in tension.

And yet these are the songs people typically associate with Gore. Less celebrated but equally wonderful is Xenon, its frazzled, grungy intro sounding like the product of a lost session from Nirvanas In Utero. (L)MIRL is a gorgeous post-rock excursion, while the way in which the title-track’s convulsing riff competes with its glacial verses feels very much like a roof collapsing on top of you while you’re having a candle-lit bubble bath. 

Rubicon, meanwhile, continues in the great tradition of their self-titled album’s Moana by ending things pitched (perfectly) somewhere between yearning and terror.

There is just so much to admire on Deftones’ eighth outing. So many wonderful individual performances. So many beautiful details, not to mention the tapestry of recurring images in the lyrics, both within and between songs. It makes for an easy rhyme, but it also happens to be true: Gore deserved more. More praise. More attention. More respect. 

Posted on April 8th 2021, 12:00p.m.

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