Undeniable Deftones Disappointment: watching a band without its classic lineup sucks
There aren’t many things that can beat watching a musical artist on heat. From the stories of The Beatles overwhelming small clubs before they blew up to The Jimi Hendrix Experience at Monterey and Nirvana’s tours in the early 1990s, when a band is pulling in the same direction and their creativity is flowing, the palpable energy it produces is arresting. Yet, as every fan knows, these moments are a rare currency.
For every artist we love, being at the top of their game every time is simply impossible. Touring takes a physical toll, and we often forget that these prominent acts are human, just like the rest of us, even as fans elevate them to god-like, otherworldly realms. Nevertheless, many artists continue to battle the odds and deliver consistently. Even when illness or other uncontrollable factors arise, fans can usually count on seeing them in full swing at a later date, despite the financial or logistical challenges. Hardcore bands like Militarie Gun and Turnstile exemplify such resilience. Militarie Gun, for instance, hasn’t let lineup changes slow them down, demonstrating their dynamic spirit.
This is a discussion I’ve been mulling over for a while. When attending my fifth visit to Primavera Sound in Barcelona at the end of May, one point regarding favourite artists became crystal clear: watching a band without its classic lineup sucks. This is not about being spoiled or misguided; it’s about the expectation that comes from a band that has produced magic on record and live for so many years, reaching a revered status in the process. When you book a ticket to a festival primarily to see that band, and they don’t meet those high standards, disappointment is unavoidable.
While it was still wonderful to witness bands that have lost original members at the festival, such as the impeccable slowcore pioneers Duster, this train of thought was ignited by watching Deftones. It is simply impossible for the Sacramento alt-metal legends to perform with their original lineup, as founding member and bass-playing force of nature Chi Cheng tragically passed away in 2013 following a 2008 car crash that left him semi-comatose.
Deftones were tight at Primavera, and the stage production was outstanding, but their setlist was merely satisfactory. They simply didn’t play enough classics, instead opting for more surprising numbers such as ‘Combat’ from 2007’s Saturday Night Wrist, ‘Royal’ from Diamond Eyes and their cover of The Smiths’ ‘Please, Please, Please, Let Me Get What I Want’.
A watered-down set foregoing some of their most important and punishing numbers, I wonder if they played a collection of more accessible numbers—regardless of ‘Lotion’ and ‘My Own Summer (Shove It)’ being included—because it was a festival or, that perhaps after so long, they are growing tired of such road-worn staples.
At Primavera, Deftones took the stage with two stand-in guitarists, Lance Jackman and Shaun Lopez, filling in for Stephen Carpenter. Joining them was bassist Fred Sablan, who has been touring with the band since this year. Sablan replaced the outgoing Sergio Vega, who had significantly contributed to the band following Cheng’s tragic passing. It’s often forgotten that Vega also stood in for Cheng back in 1999 when a toe injury sidelined him.
My main gripe is this: say what you want about the setlist, but the performance lacked the electrifying energy Deftones are famed for. It felt slower and rehearsed to the point of sanitisation, perhaps due to the stand-in members simply going through the motions with songs that weren’t theirs. While they were tight and frontman Chino Moreno was as captivating as ever, the guitars and bass were missing their usual bite.
Of course, all of this leads to my broader point: when a band’s classic lineup is on fire, everyone brings something vital to the table, from songwriting to performance, and this synergy resonates with the audience. This truth was unmistakably clear when I was part of that mass of revellers on the Catalonian coast.
This isn’t to bash Deftones, as circumstances are what they are, and they still delivered a solid performance. The touring members did a commendable job replacing Carpenter, Cheng, and Vega. However, it simply wasn’t the same, highlighting Carpenter’s significant role in the band’s sound and success. When someone has played such a crucial role in shaping an act’s identity, their absence creates a void that can never truly be filled. This reality was evident even during Vega’s successful tenure, despite him producing one of the most essential Deftones basslines on ‘Swerve City’.
Therein lies one of rock music’s greatest paradoxes. A band of genuine cultural value, comprised of true artists, knows nothing better than what they do, so giving up when members leave is typically out of the question for those who stay. Fans wouldn’t want them to, either. It’s a strange place to inhabit, but it is part and parcel of music’s ever-evolving nature, whether we like it or not. Despite complaints from fans, most established artists will find themselves in this space during their careers—just ask The Rolling Stones.
