Live Review: Deftones - Co-Op Live, Manchester
14th February 2026
Support: Drug Church, Denzel Curry
Words: Dan Barnes
Photos: Tim Finch
That Sacramento, CA, alternative metal legends, Deftones, haven’t yet headlined a major UK festival, despite being one of the most influential and unique bands of their era, is staggering. That a band can release an album as good as last year’s Private Music a quarter of a century after the seminal White Pony, whose effect on alternative music is still being felt; and a band whose seventh record, Koi No Yokan, would have been rightfully widely lauded as the masterpiece it is, were it not for the spectre of its Millennial predecessor.
While the jury’s still out on the uneven Gore, Adrenaline is very much of its time, and the self-titled had the unenviable task of following White Pony, I would argue Deftones haven’t a bad album in their discography, possibly down to the time spent between each recording.
Last year’s shows at the Eden Project, Crystal Palace and a very damp Piece Hall in Halifax proved that Deftones were still a formidable live act and a big draw; a sold-out Co-Op Arena in Manchester attests to that, with tickets flying off the digital shelves as soon as they went on sale.
Town planners in Manchester seem to like putting venues next to the city’s football stadia. The Victoria Warehouse is beside Old Trafford and the Co-Op is on the Etihad campus, next door to City – who just so happen to be playing here this afternoon. And there’s reported traffic disruption across the city; oh, and it’s St Valentines Day. Such is life.
New York post-hardcore band, Drug Church, have the dubious honour of getting the evening started with a huge amount of the twenty-three-thousand-plus crowd are still winding their way through Co-Op’s barrier queuing system. It’s just how it is when you have to move that many people into an enclosed space quickly and efficiently.
The band have but half-an-hour to distract the growing crowd from the future delights and focus on the Pure Noise released material in their catalogue. Mixing a So Cal Punk sound with alternative rock finds the band in a similar ballpark to the headliners; Myopic, Slide 2 Me, both from 2024’s Prude album tick the alt boxes, whereas Demolition Man – from the same record – has some Bad Religion vibes going on. Million Miles of Fun has an earworm progression, and closer, Weed Pin, has a driving rhythm that just won’t stop.
No stranger to Manchester – having headlined the city’s Outbreak Festival a couple of times over recent years, Florida-rapper, Denzel Curry, hits the stage like he’s tonight’s bill-topper; and the Arena, for three-quarters-of-an-hour at least, indulge him. In return, Mr Curry delivers a razor-sharp set of heavy hip-hop beats that fill the cavernous venue, rattling the foundations of the building.
In all honesty I have extremely limited points of reference when it comes to hip-hop in general and when it’s played live, so I’m going to defer to those who know better: the Co-Op crowd. Judging by the reaction of those around me, Mr Curry was a superstar; he gets the whole of the arena up and moving with a host of admittedly unstoppable beats, the interaction between him and his DJ felt totally organic.
I recognised variations of Drowning Pool’s Bodies and the closing Bulls on Parade from Rage Against the Machine, and even with my limited appreciation of the genre, I really did enjoy the time I spent with Denzel Curry tonight.
It’s always interesting to note the demographics of an audience, as it’s very often reflective of the appeal and, ultimately, the longevity of a band. Scanning the arena this evening and there’s some of the widest variation of age and apparent musical preference as you’d hope to meet at a show.
Not only is Deftones presenting their new record tonight, with seven of private pusic’s tunes being aired, but they are taking a comprehensive journey through their recorded history, with only Gore and the self-titled being bypassed.
It’s sort of like shooting fish in a barrel – what with the voracity of the fandom – but the band open the set with Around the Fur’s Be Quiet and Drive (Far Away), which turns the anticipation into physical fervour, with the front portion of the crowd becoming instantly animated. The stage set is simple but effective with a full-sized digital screen projecting relevant images as searing lamps throw sharp light out into the arena.
Locked Club is the first new tune and comes in early, fitting between …Drive and the proceeding Rocket Skates like it’s always been there. Foregoing the fact that he’s on the wrong side of fifty, Chino bounds about the huge stage like it 1999 all over again, maintaining that level of energy throughout the performance.
Diamond Eyes gets the voices raised before Ecdysis arrives from a blood red stage. White Pony’s Digital Bath finds the stage turned Matrix-green as Chino straps on a guitar; the way the song is constructed is to tease a resolution which, when it does arrive triggers a huge release from the crowd.
Advance Private Music single, My Mind is a Mountain comes with some fierce guitar work, courtesy of Stephen Carpenter stand in, Lance Jackman, and Abe Cunningham goes medieval on his kit on Souvenir. There’s an irresistible groove to Swerve City that never gets old and it’s followed by my favourite of the band’s songs, Rosemary, and it seems like I’m not alone in that opinion.
We’re about halfway through the set and Chino make his first real address to Manchester, with a heart-felt thanks for turning out in such numbers to support the band. Well, I don’t have the arrogance to speak for twenty-three thousand people, but you’re welcome back at any time, especially with shows as good as this. The new duo of Cut Hands and Infinite Source prove the range of Deftones’ creativity, c.2025, and the beautifully languid Sextape finds those multiple voices raised once again.
Hole in the Earth’s eco-message is well received, but it’s on the White Pony classic Change (In the House of Flies) that Manchester voices are heard most loudly. Chino, guitar strapped on stands at the back of a scorching orange stage, a shadow only, as the music does the talking.
Genesis and final newbie of the night, Milk of the Madonna, take us to the end of the main set, but the band aren’t gone for long and return with Cherry Waves, whose lush melodies equal parts hypnotise and mesmerise and, from where I standing, the rear projection of a ballet dancer appears to be perched atop Abe’s cymbal.
It’s back to the beginning for the closing tunes, with a fiery My Own Summer (Shove It) and 7 Words allowing those of an age to relive their mis-spent youths. It’s a raucous finale to what has been a phenomenal show, from a band who refuse to be pigeon-holed and have the creative freedom to just do their thing.
I know it’s only mid-February, but already Deftones have just laid one huge marker down for the Year. Can’t wait to see the other bands challenging for the title.
Photo Credits: Tim Finch Photography
