Montreal’s Bell Centre is built for spectacle, and on this night it got one in spades: a triple bill featuring The Barbarians of California, Idles, and the mighty Deftones. After The Barbarians of California warmed up the crowd, what followed was a masterclass in how contrasting styles can create an unforgettable evening. Most people were there for Deftones, but when it comes to charisma, energy and sheer performance, Idles stole the show.
Idles may initially seem an odd choice as opener for Deftones, but they had the crowd in the palms of their hands from the beginning. The slow-building menace of “Colossus” ballooned into noise and fury before spilling into “Gift Horse” and “Mr. Motivator.” The whole band are compelling to watch, with both guitarists Mark Bowen and Lee Kiernan diving into the crowd to be carried aloft across a sea of outstretched hands. At one point, Kiernan was surfing above the masses while still hammering away at his strings.
Joe Talbot is one of the most compelling frontmen in rock music today. He commanded the stage like he was hosting a gathering equal parts therapy session and riot, his delivery swinging from snarled slogans to moments of genuine tenderness. “Danny Nedelko” turned into a massive singalong, the Bell Centre floor erupting into moshpits and a tangle of voices and fists. There were plenty of Idles shirts scattered throughout the crowd, testament to their growing reach. By the time they walked off, they’d made it clear this wouldn’t be a typical night.
Then came Deftones, delivering a masterclass of cinematic alternative metal with a light show and film clips to match. The opening pairing of “Be Quiet and Drive (Far Away)” and “My Own Summer (Shove It)” hit like a one-two punch, the kind of opening salvo that makes the arena floor shake in sync with Abe Cunningham’s kick drum. Chino Moreno’s voice sounded as strong as ever, cutting sharp through the mix, while Stephen Carpenter’s guitar tone filled every corner of the building. The band were ultra tight and heavy, partially helped by a third guitarist playing, almost hidden, in the wings.
“My Mind Is a Mountain,” one of three tracks from new album, “Private Music,” folded into the set, proved the new material fitted seamlessly alongside classics from their 30-year history. Its swirl of atmosphere and crushing riffs had the muscle to stand next to “Diamond Eyes,” “Tempest,” and “Swerve City,” which followed in quick succession, reminding the crowd why Deftones became both festival headliners and cult heroes.
What has always made Deftones captivating is their ability to pivot from dreamlike haze to blunt-force trauma without losing momentum. “Digital Bath” floated above the arena in all its narcotic shimmer, only to be obliterated seconds later by the unrelenting speed of “Rocket Skates.” “Sextape” pulled the mood back inward, Moreno’s voice almost swallowed by shadow, before “Around the Fur” detonated with raw punk energy.
The deep cuts landed hardest. “Headup” unleashed the pit in full force, its chaos extended with feral precision. “Entombed” was a rare gem, greeted with a cheer that suggested fans had been waiting years for it. Then came “Hole in the Earth,” proof that Saturday Night Wrist has aged far better than anyone gave it credit for in 2006.
But perhaps the biggest validation came with “Infinite Source,” another fresh track delivered as if it had been part of the arsenal for decades. Hearing it alongside “Change (In the House of Flies)” — a song that turned the entire Bell Centre into a choir — made it clear the new material isn’t filler. It’s fuel.
As the main set wound down, the band turned to “Genesis,” an Ohms highlight that felt massive in scope, before shifting into “milk of the madonna,” capped with a “souvenir” outro. The closing pairing was a reminder that Deftones don’t treat old and new material differently — they weave them into the same storm.
The encore began with “Cherry Waves,” a rare pull that gave fans a shimmering breather. But calm doesn’t last long at a Deftones show. “Engine No. 9” landed like a wrecking ball, igniting one of the night’s wildest pits, before “7 Words” brought it all back to the beginning: raw, defiant, cathartic.
Looking around the arena, it was impossible not to notice the mix of faces. Long-time fans who’ve carried these songs for thirty years stood shoulder to shoulder with teenagers who probably discovered Deftones on TikTok. That split never felt awkward. If anything, it underscored just how elastic this band’s influence has become. “Change” belongs to both the kids and the lifers. “My Own Summer” has become part of a whole new soundtrack.
The Barbarians of California opened strong, setting the stage for what became a night of contrasts. Deftones delivered everything their reputation promised: a cinematic assault backed by visual spectacle, with Cunningham’s drumming never wavering and Frank Delgado’s textures giving the whole thing its widescreen atmosphere. But it was Idles who provided the evening’s most electric moments, proving that sometimes the most unlikely pairings create the most memorable nights.
Steve Gerrard
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