Edinburgh Summer Sessions Deftones presale codes

The band came up in Sacramento, blending sub-bass riffs with airy melodies and sample glow.

Sacramento shadows, silver glow

Recent years reshaped the lineup, with the tragedy of their original bassist and a later change on bass ushering in touring players and a leaner focus. Expect a tight festival arc that nods to White Pony, Diamond Eyes, and Ohms, most likely folding in Change (In the House of Flies) and My Own Summer (Shove It) early. Be Quiet and Drive (Far Away) or Digital Bath often supply the slow-bloom mid-set drift before the stomp returns.

Songs most likely, faces you'll spot

The crowd skews mixed-age, lots of black windbreakers, skaters in beat-up Vans, and metalheads next to indie kids mouthing the quiet parts. Trivia: their sampler/keys architect began as a guest turntablist before becoming a full member during White Pony, and parts of that record were built in late-night sessions heavy on tape loops. Another tidbit: the abandoned Eros project still echoes in a few textures they favor live, even if the songs stay in the vault. Note: these set and production guesses come from recent festival runs and may shift on the night.

Around a Deftones show: style, rituals, and soft edges

The scene mixes skate and metal aesthetics: black denim, windbreakers, and beat-up sneakers next to a few vintage bomber jackets.

Black cloth, bright chorus

You will spot old White Pony tees shoulder to shoulder with newer Ohms designs, plus a handful of hand-made patches on backpacks. Pits open on the tougher cuts, but people tend to watch for those around them, and the front rows hush fast when the clean intros start.

Rituals without the drama

Big singalongs land on the choruses of Change (In the House of Flies) and Be Quiet and Drive (Far Away), while the outro of older songs sparks quick, two-line chants. Between tracks, fans trade gear talk about baritone guitars and drum tones, then swap memories from club shows and Reading-era sets. Merch tables lean toward simple black prints, the white horse silhouette, and understated hoodies that match the music's balance of force and hush. Overall, it feels like a community built on volume and restraint in equal measure, happy to let the peaks hit and the quiet parts stay quiet.

How Deftones make the heavy float

Vocals pivot from near-whisper to a throat-open roar, often sitting just above the guitars so the words float while the low end rumbles.

Heavy clouds, bright edges

Guitars ride ultra-low tunings, with simple, heavy shapes that leave air for the keys and samples to color the edges. Drums swing a touch behind the click, giving riffs a lurch that feels human rather than machine-tight. Live, they like to nudge tempos down a notch on the moody cuts, which lets the choruses bloom bigger when the crash hits.

How the parts lock

The band often stretches intros with drone pads or clean guitar harmonics, then slams back to the core riff for contrast. A small slapback delay on the lead vocal and filtered noise between songs glue the set without breaking the mood. Lights usually stay in deep blues and reds with sharp strobes on riff drops, supporting the music-first focus rather than stealing it.

If Deftones click, these artists stick

If you like the wide dynamics and trance-like grooves, Tool is a smart adjacent pick for the same slow-build catharsis and artful thunder.

Cousins in weight and mood

Fans of detuned bounce and hip-hop-tinted swagger often cross over with Korn, though Deftones lean more toward dream-pop shimmer than rap-metal grit. For modern heaviness with atmosphere and airtight precision, Gojira pull a similar crowd that wants impact without losing nuance. Chevelle suits those who crave muscular hooks with melodic choruses, and the live mix textures sit in a nearby lane.

Why the overlap lands

All four acts favor negative space, patient builds, and drum parts that feel slightly behind the beat, which scratches the same itch. If Deftones are your heavy-lush anchor, these artists map the surrounding coastline.