Photo by Clemente Ruiz / Words by Sosefina Fuamoli
A sharp moment of suspense tightens its grip on the crowd at Rod Laver Arena. The first of two shows in Melbourne for Deftones is about to begin and it’s slightly wondrous to see how a band like this has been able to crest a wave of resurgence in the way they have.
There are fans who have been on the journey since debut Adrenaline came out in 1995. There are fans in attendance who weren’t even born in the same decade. All gathered together in the darkness, waiting for their first glimpse of the Chino Moreno-led group.
The Melbourne shows are the last for Deftones before they wrapped up their AU/NZ tour with a show in Auckland so naturally, setlists and word of mouth has been spreading.
Two different set lists marked this tour but both were a celebration of Deftones’ untouchable catalogue of music. If you did your homework prior or decided to go in blind, the menu of songs on offer each night would likely impress.
On this night, ‘Be Quiet and Drive (Far Away)’ drowns the arena in its first hit of nostalgia. With 20 songs still to come, Deftones have curated an unforgettable experience to remind us that they’re still very much at the top of their game.
When Deftones released Private Music in 2025, it landed as a contender for one of the best albums of the year (it made ours, naturally): a potent blend of evocative, resonant lyricism and impactful instrumentation that redefined the band for a whole new generation.
Over three decades in, producing work like “infinite source” and “departing the body” – songs that can stand alongside some of the band’s classic material – more than proves Deftones’ ability to grow and adapt with their own changing creative perspectives, while continuing to hone and nurture the essence that has been with them since the world first fell for them in the 1990s.
In a music economy where much of a band’s success can now dictated by virality and treading paths that feel formulaic and tailored for a specific consumer, the way a TikTok audience have embraced cuts from Around The Fur, White Pony and Diamond Eyes is testament to pure musicianship and songwriting.
The cream will always rise to the top.
Watching the band on this particular night, it felt like seeing a group who are very much aware of their sphere of influence continuing to expand.
Moreno, cutting an impressive figure on the arena stage; matching vigour and that signature swagger with a sharp vocal range that ran from ferocious to yearn-soaked growls.
Abe Cunningham’s captivating drumming and Frank Delgado’s instrumentation on either side of the stage, perfectly buoying highlight moments in “Tempest” and “my mind is a mountain”. And flanking Moreno, bassist Fred Sablan and guitarists Lance Jackman and Shaun Lopez, serving rhythms and riffs that throttled their way through the 14,000+ capacity room.
Together, Deftones were able to make this large space still feel raw and in some moments intimate (“Digital Bath”, “Change (In the House of Flies)”), while also delivering stadium-ready moments of primal energy that kept circle pits running (“Swerve City”, “7 Words”, “My Own Summer (Shove It)”).
This current tour set up is slick and well-delivered at this point, with Deftones having already completed laps of North America, Mexico, Europe and the UK before arriving in this part of the world. Still, the spirit of excitement and rejuvenation remained a key part of the success of these shows – the love shared between the band and their fans is embracing a new peak the world over and to see Deftones at this juncture of an already decorated career, it felt as much a privilege as it was a highlight show of 2026.
A band that continues to add to the culture they helped architect; it’s fun to still be along for the ride.
