For a decade and a half, California metal band Deafheaven have been one of the more divisive bands to come through the heavy music scene. Controversial would be too strong a term for a quintet of fairly agreeable chaps from Northern California, but they’ve always found themselves in the thankless genre debates so many metal fans traffic in.
Throughout the decade and a half of steady output and relentless touring, the production on Deafheaven’s albums might have been too shimmery to ever thoroughly endear the band to a specific fanbase, especially with shoegaze and screamo influences abound. But other than (perhaps) inflated hype and admittedly metal-contradictory Pitchfork co-signs, there’s never been any true reason to root against these guys.
Even with an elitist corner of the metal fanbase taking a prickly stance on Deafheaven, they managed the crossover appeal quite well in maintaining their audience. And after more than a decade, the “but is it metal?” discourse couldn’t have been more played out. But Deafheaven reemerged from the pandemic to release Infinite Granite. This album was unquestionably a pure shoegaze record where the band’s ethereal tendencies turned thematic.
Daring metal purists to write them off was probably not the band’s purpose, but the sonic explorations in softer textures and clean vocals provided a new dimension to their portfolio. But in a career full of left turns, the Bay Area natives gave us their first U-turn with Lonely People With Power, which the band is currently on tour supporting.
Released on Roadrunner Records this past April, LPWP sees the band bringing renewed energy to their black metal roots. There are, in typical Deafheaven fashion, a few stylistic flourishes and even a few head-scratching spoken word features, but these guys haven’t sounded this heavy in almost a decade when New Bermuda thrashed its way through the unexpected renown following the band’s breakthrough Sunbather.
Openers Trauma Ray and Gategreeper felt like fitting bookings for this tour. In the past, it felt like Deafheaven went out of their way to bring non-metal acts like Drab Majesty (new wave) and Touché Amoré (screamo) to bring colorful lineups for their tours. A shoegaze and a metal band were the perfect choices for getting the crowd going before the headlining quintet took the stage.
The well-received new material certainly warrants exploration on stage, so it was a welcome sign that the Deafheaven’s set at the Metro last Monday night highlighted this batch of tracks. The live show further showcases drummer Daniel Tracy’s superb blast beats and stamina, while the rhythm section continues to lay a tight framework for Keery McCoy’s soaring guitar passages. George Clarke, as always, is the focal point of their live presentation. The frontman’s tireless prowling across the stage, along with impassioned vocals and dramatic gesticulation, absolutely absorbs all the oxygen in the room. He’s become even more aggressive and charismatic as the band has slowly built their audience.
Deafheaven’s trademark atmospherics are still there, but there’s a sense of urgency and aggression you can sense in the body language of the entire band. It helps that Clarke seems to have gotten in the weight room and lost interest in sleeves, but even lead guitarist Kerry McCoy thrashed about at times. The stand-in for longtime rhythm guitarist Shiv Mehra was also more energetic than your average hired gun, and the stage presence of (underrated) bassist Chris Johnson wasn’t unnoticed.
Deafheaven opened the set with the first few songs on the new record. Beginning with the eerie “Incidental I” before launching into new “Doberman” and “Magnolia” where the band immediately caught a groove. “Brought to the Water” and “Sunbather” were early tracks that cut through the new material. These are deftly-layered tracks morphed over the course of five to even nine minutes, and juxtaposed nicely with the numerous aggressive moments early in the set.
There are plenty of nooks and crannies to Deafheaven songs. Their live show is perfect for zoning in and out, becoming mesmerized only to be jarred awake by Clarke’s fervid shrieks. “The Garden Route” is one of the finest examples of the band’s ability to build and release tension, as their dreamy soundscape explodes into utter chaos. McCoy’s thrashing and a thunderous rhythm section bring “capital M” metal vibes that are rarely so fashionably packaged.
After a short break, Deafheaven eased into their second set with “Incidental II” before launching into “Revelator.” This is probably Deafheaven at its heaviest. There’s a rigidity to this track (a cross between thrash and black metal) that most fans have been missing for a decade. Clarke’s stage banter is sincere and agreeable, even admitting that he had been battling with vocal issues that day. “The heads” may have noticed him changing certain lyrics to clean vocal deliveries, but he managed this quite well. At this point, they’re pros.
If there’s an obligatory song in Deafheaven’s catalog, it’s “Dream House.” The opener from their breakout Sunbather is heralded in with the instantly recognizable guitar strumming on the intro that invites listeners on a journey from agony to ecstasy with its climactic song structure and vigorous (but precise) execution.
Deafheaven know what their fans want, but they’re far too adventurous not to throw an unexpected closer onto their set. “Winona” is by far the best way to showcase the new material and, seemingly, a natural extension of the set. Billowing guitars build from almost background music to stratospheric heights.
Revisiting their heavy roots was the perfect move at the perfect time for the band, and their live sets continue to be vital to the Deafheaven experience. And with each release adding something to their portfolio of sounds and modes. Deafheaven’s Chicago stops will always draw the diehards, of which there are many. After Lonely People With Power, it’ll be interesting to see how their popularity can level up at the same pace as the band’s abilities.