25 in 2025: Deftones' White Pony - the album that transformed nu-metal, 25 years on

If there was one name from the Glastonbury Festival announcement I was both surprised and delighted about, it was the inclusion of Deftones at Worthy Farm.

Well earned flowers indeed.

As an (almost) life-long fan of the band, having caught them many times over the years, one hopes that the band get a nice set on the Pyramid Stage and given their esteem within the alternative music scene, why shouldn’t they get that spot?

They are a band who were part of the burgeoning nu-metal scene in the mid 1990s, as the scene was starting to hit a critical mass with the likes of Korn, Limp Bizkit and many more starting to take over music television, radio and more importantly, the charts.

By 2000, nu-metal's commercial success led to oversaturation, prompting Deftones, considered pioneers of the rap-metal movement, to shift their sound. This is when Deftones matured from rap-metal favourites to critically and commercially acclaimed alternative metallers - not without its dramas, either.

Deftones and Y2K - setting the stage for White Pony

2000 was considered the year that nu-metal had taken over the world of music; the biggest band in the world was led by a former tattooist from Jacksonville, Florida, MTV would start marrying videos from the wave of rap-rock acts alongside pop idols of the time, and everyone gravitated towards the fashion at the time - baggy jeans, wallet chains and your favourite band’s hooded top.

At this stage, having released two previous albums that delved into the rap-rock element that was burgeoning in the mid-90s, Deftones were set to release their eagerly anticipated follow up to 1998’s Around The Fur - considered a quintessential moment in nu-metal history.

But for the band, the glut of nu-metal was something that they were conscious of moving away from: Chino Moreno, in particular, expressed a strong desire to avoid predictability and break free from the genre's conventions.

In a quote from Moreno from The Ringer’s Oral History of Deftones’ White Pony: “I was thinking to myself, 'I don't want our records to be predictable.’

The late Chi Cheng also reflected on the band's drive for constant evolution, stating that they wanted to, 'stick to what they've been doing,' which, for Deftones, meant pushing forward and exploring new sonic territories.

Their desire to innovate was widely interpreted as a direct response to the perceived stagnation within the nu-metal scene

They wanted to create something enduring, rather than simply riding the wave of a fleeting trend and more overtly display their diverse influences.

A break away from predictable patterns - recording White Pony

After finishing tour commitments, the band spent four months writing and recording ideas for their third album, taking their time on what they wanted to create despite pressures from their label, Maverick, to follow up the success of Around The Fur sooner.

In an interview with Alternative Press, Moreno explained that the majority of the studio time was trying to write the album rather than record, and that when they finally began writing the single Change (In The House of Flies), their creativity as a band suddenly clicked..

In Cheng’s mind, they had “nothing to lose, so we made the record we wanted to make,” while Moreno in the same Alternative Press interview remarked: “"I basically didn't sing about myself on this record. I made up a lot of story lines and some dialogue, even. I took myself completely out of it and wrote about other things.

Once I did that I was able to sing about anything I wanted to, I could be a lot more general. There's a lot of stuff on this record that people are going to question me about, and I can just remove myself from it. It's not me. I'm writing a story here."

During their 1999 studio sessions, their diverse influences became more apparent, as they shifted away from rap-rock elements, with Moreno focusing on melodic singing interspersed with intense screams.

The band’s conscious effort to move away from the ‘predictable’ nature nu-metal had become led to the band namechecking the shoegaze movement, in particular My Bloody Valentine, as an influence on the overall sound on White Pony, combined with their interests in electronic music - with DJ Shadow’s use of turntablism considered a very pivotal influence on the work.

The addition of Frank Delgado to the group full time was considered a defining moment of the album too; formerly a member of Sacramento hip-hop outfit Socialistik. That band would open for Deftones during their Adrenaline and Around The Fur tours, with Delgado guesting on the first two albums before officially joining the band for White Pony.

But the creative process also proved to be a tough one; Moreno’s decision to play rhythm guitar for the album led to tensions between guitarist Stephen Carpenter and himself.

Carpenter long felt he was the primary guitarist for the band, but Moreno’s desire to play guitar stemmed more from trying to push the band forwards rather than overshadow Carpenter.

In an interview for Guitar World, Moreno spoke about the tension and how it eased during the recording sessions: “Initially, I don't think the idea was that I was going to actually play on the record, even. Then I remember Stephen specifically saying, 'Dude, if you're going to play it in practice, then you're going to play on the record!'

I was like, 'Oh, okay If that's cool with you!' I don't think he was too happy about it, to be honest, then.”

He continued: “I do remember us both smiling at each other when we were sitting listening to the track being made, and the fusing of both our guitars, the sound of it, the way that Terry [Date] produced it.”

Critical acclaim and commercial triumph: White Pony's impact

White Pony was finally released on June 20 2000 to overwhelming critical acclaim and commercial success, powered by the release of their first single Change (In The House Of Flies), while tracks such as Knife Party, Digital Bath, Feiticeira and Passenger (featuring Tool frontman Maynard James Keenan) regarded as standout moments from the album.

Its artistic triumph lay in its sonic diversity, according to critics; the band masterfully blended those newer textures with their signature alternative metal sound, creating an immersive and atmospheric experience.

This sonic landscape was further enhanced by the notable guest appearances of Scott Weiland and Keenan, with Weiland's haunting vocals on Rx Queen and Keenan's collaborative effort on Passenger providing distinct and memorable moments within the album's overall journey - and it is a journey.

The album debuted on the Billboard 200 at number three, their highest album position at the time, while the UK album chart was equally as favourable with White Pony, peaking at 13 upon release.

Critics were enamoured with the work; Rolling Stone, who gave Around The Fur a rather lukewarm review, gave White Pony a four star review praising its “atmospheric textures” and "adventurous song-writing,” highlighting what the band sought to achieve with the album - their evolution from a mere ‘nu-metal’ act (which starting to become a pejorative at this time) to an alternative metal act comfortable exploring more nuanced and experimental sounds.

Their single Elite also earned them their first GRAMMY Award win for Best Metal Performance in 2000, but not everyone was happy with the move away from what made the band popular, and what was currently “on trend” at the time - rap-metal.

The Back To School drama

Originally, White Pony closed with the brooding, epic track Pink Maggit, a song that epitomized the album's experimental and atmospheric qualities. However, Maverick pressured the band to create a more commercially viable rap-rock single to capitalize on the album's success.

This led to the creation of Back to School (Mini Maggit), a reinterpretation of Pink Maggit with added rap and hip-hop influences - the commercially successful alternative sound at the time.

While the band initially appreciated the label's support and the increased exposure that Back to School provided, Chino Moreno later expressed regret over the song's creation and its inclusion on the album.

In numerous interviews, Moreno felt it compromised the artistic integrity of White Pony, and that it was a step backwards for the band - or as he put it bluntly, “"It was a mistake. "I hated it. I felt like we were cheating. It was like giving in to the record company."

Ultimately, the undeniable success of 'White Pony' and its sonic departure solidified Deftones' artistic trajectory, paving the way for further experimentation in future albums, albeit with occasional nods to their rap-metal roots for their dedicated fanbase.

The everlasting influence of Deftones’ White Pony

Alongside the critical and commercial success of the album, White Pony also became a huge influence on musicians both in and outside the alternative scene.

Mike Shinoda of Linkin Park mentioned Deftones as a significant influence, particularly in their willingness to blend genres and create atmospheric textures, while Poppy has spoken about the influence that Deftones has had on her music, and how the blending of heavy and lighter sounds is something that she has used in her own music.

White Pony transcended its era, leaving an indelible mark on alternative music. Its genre-bending approach, blending shoegaze, electronic, and alternative metal, showcased the power of artistic innovation.

The album's use of layered atmospheres and sonic textures, alongside Chino Moreno's emotive vocals and introspective lyrics, inspired countless artists to explore deeper emotional depths in their own work.

Deftones are set to perform at Glastonbury Festival 2025, The Peace Hall in Halifax on June 24 2025 and Crystal Palace Park on June 29 2025. Tickets for their headline shows are available currently through Ticketmaster UK.