In May 1991, the term "420" was published in High Times as slang and shorthand for marijuana. This was taken from the group in the Seventies known as the Waldos, a handful of kids at San Rafael High who would gather at 4:20pm to partake. As such, the numerical designation has become the worst-kept secret in cannabis, and has since, like all other counterculture buzz words, been bastardized by corporations looking to play to the crowd.
Yay, capitalism.
Given that nu metal brings in so many different - pardon the term - influences, there's more than a handful of midnight tokers among the nu world, so on this great day for gardening, we salute them and celebrate a selection of the best infused songs in the game.
"Peephole" by System of a Down
"Peephole" by System of a Down was literally introduced in a 1999 show by Daron Malakian as "being about smoking weed." With influences from both metal and polka, a truly unique sound and song are made. While some may argue it can be for or against the use of weed, the band have made a point to note this song was made in the favor of weed, with a note in their self titled album reading:
"The February 18 edition of Britain's NEW SCIENTIST Magazine reports that the Geneva-based World Health Organization suppressed, under political pressure, a report which confirmed that marijuana is safer than either alcohol or tobacco."
With lyrics like "When your stars are baked and your rivers fly, Do you you ever believe you were stuck in the sky?" you can just paint the picture of being high in your mind. What makes this song so fun is that one can just interpret it as one of System of a Down's "nonsense" songs like "Vicinity of Obscenity." However, if you do know the meaning the lyrics like I had mentioned really do paint that picture of being high. -Ducky Ruffing
"Livin' It Up" by Limp Bizkit
“I don’t even smoke, but I love the way it smells” is more than a throwaway line in “Livin’ It Up” by Limp Bizkit. It sets the tone for a song that understands the imagery of cannabis culture without fully participating in it. Rather than a direct endorsement, the lyric captures the social and sensory aspects surrounding it—the setting, the people, the moment—from an ironic distance. Fred Durst does not focus on the effect itself, but on the atmosphere: one built on chaos, absurd humor, and a shared sense of detachment that extends beyond the substance.
That perspective expands through the track’s dense pop culture layering. References to Christina Aguilera and the dedication to Ben Stiller reinforce a different kind of high, one driven by media saturation, irreverence, and early 2000s excess. Through cameos, chaotic performances, and self-aware nods, “Livin’ It Up” operates like an altered state of its own, where logic fragments and everything moves on impulse. It is not a song for introspection, but for immersion in the surrounding noise, as if the world itself—not the listener—were the one that is stoned. -Diego Díaz Orellana
"Sweet Leaf" by Godsmack (originally by Black Sabbath)
While many will remember System of a Down's cover of "Snowblind," Serj and Co. are far from the first to cover the almighty Sabbath in the era of nu metal. First appearing on the second Nativity in Black tribute album in 2000, Godsmack's version puts Sully Erna's gruff voice into play immediately, as if to simulate a feeling of the first time lighting one up. The pacing is a little quicker than the original cut, and it definitely feels like early Godsmack in this sense. The song would later be re-released on the 25th anniversary re-issue of their second album Awake, unearthing this cut like a long-lost dimebag that still somehow hits. -Lucia Z. Liner
"Fire It Up" by Disturbed
We here at the Agenda have taken our fair share of shots at David Draiman, and we'll take many more while we're still here, but as this song is explicitly about marijuana, it bears including on a list like this. Starting off with a sample of someone lighting a bong and taking a hit, the track feels like it's trying too hard to fit in, a la that Steve Buscemi "fellow kids" meme. Musically, it works, but lines like "leaves of the devil" make it a little hard to take seriously. Dan Donegan's guitar work does entirely too much heavy lifting here, with pinch harmonics abound in the chorus.
Now if ol' Pussyhooks himself would take a puff or two, maybe he'd slow the fuck down about signing missiles. We can dream, no? -Lucia Z. Liner
"The Pot" by Tool
You had to have seen this one coming.
Truthfully, Tool has a wide array of tracks that you could totally light some bud up to. "The Pot" is probably the most on-the-nose considering lyrical allusions (the iconic repetition of "You must've been high" and "Ganja? Please!"), even though the song apparently isn't even about marijuana usage at all, but is instead about hypocrisy, with the title playing on the phrase "the pot calling the kettle black" just as much as it references the Devil's Lettuce. But don't let me ruin the immersion for you. The vibes are absolutely immaculate here with those hypnotic drums and funky bass, the irresistibly sing-a-long lyrics can make even the most stoned individual stand straight up with their best Maynard impression. Blasting this one at your next sesh is a must. — Cain Borgia
"Butterfly" by Crazy Town
“Butterfly” by Crazy Town lives in that sweet spot where nu metal loosens its grip and lets the groove do the work. Built on that unmistakable Red Hot Chili Peppers sample from “Pretty Little Ditty,” the track leans into a mellow, almost dreamlike atmosphere instead of the genre’s usual punch, slam, and angst. Everything about it feels slowed down just enough, from the sun-washed guitar loop to Shifty Shellshock’s laid-back delivery that sounds like it is drifting rather than driving.
What makes it stick is how effortlessly it locks into a mood. The rhythm just glides, the hook repeats without wearing out its welcome, and the whole song carries this hazy, late-night warmth. There is no urgency here, no need to explode into something heavier. It just rides its own wave, pulling you further into that hypnotic headspace with every pass through the chorus. Where a lot of other iconic songs from the peak of the first nu metal movement in the late 90's and early 2000's have frenetic, chaotic energy, "Butterfly" flows in a way that can make it slide right into any stoner's playlist for a session in a smoke lidden room.
"Butterfly" stands as a reminder that nu metal has had a wide, expansive range beyond the iconic staples of the likes of Limp Bizkit’s or KoRn’s heavy hitters, while still landing squarely within the very same framework that has become instantly recognizable across all spectrum of the genre bending scene.
"Be Quiet and Drive (Far Away)" by Deftones
It’s no secret that the stoner culture has been embracing Deftones since the band's breakthrough in the Nineties. Hell, the band itself has created its fair share of stoners throughout the years, considering Stephen Carpenter has been unapologetically open about his weed consumption with impunity.
In old interviews about the creation of Around The Fur, Carpenter always hints he was stoned during its entire writing and recording process. This is incredible considering its one of the best nu metal albums ever made, eventually going platinum many years later, but the song that really hits that euphoric nerve is "Be Quite and Drive (Far Away)."
Even as a wannabe straight-edge kid in my youth, every time I pressed play on that song on my IPod nano, I always thought that that song is what getting high feels like. You don't have to be under the influence of anything for that track to take you on another plane of existence. I was just one year old when that song came out, and even though I’ve felt what it’s like to experience the waves that song puts you in with a little bit help more recently, I yearn to have been a young adult in the 90s when it first dropped and truly know what it feels like to drive far away. -Stephan Carrizales
"What a Day" by Nonpoint
I am very much straight edge, but before I claimed edge I did dabble in a little weed. While don't think I'll enjoy weed again for reasons that are personal to me, I'd say if I was a stoner, this song would be an easy include for my playlist. Admittedly, I haven't had a chance to listen to Nonpoint, and while I never listen to metal when partaking in vices, I think this track would be the one exception. Nonpoint's "What A Day" is something you can chill but still rock out too. Not as soft and smooth as Deftones, but not hard and paranoia-inducing either.
Lyrically, "What a Day" is for the laziness in all of us, with the help of weed or not. Whether feeling hungover or otherwise being under the influence. Being fucked up or sleep-deprived is something we can all relate to. Being too sleepy or bent to drive and questioning your life choices due to vices. Either way, toke responsibly if you do, OK?
"Feel Good" by hed(PE) ft. Serj Tankian & Morgan Lander
This star-studded collaboration from hed(PE)’s 2000 album Broke more or less speaks for itself; we just want to feel good! The rap verses keep to a lower register from Jahred Gomes, with some cute little synth lines rotating the listener in stereo. Combine that with some sticky, bassy pounding on the hooks and you’re bound to have the desired effect in no time.
Still, in between roars from Kittie’s Morgan Lander and taunting call-and-response hooks from System of a Down’s Serj Tankian, one can find an apocalyptic dose of attitude that adds some playful complexity to the experience of being lit up. Mentions of Revelation are interspersed with talk of personal conflict and “slic[ing] like a machete” - it’s precisely the kind of almost-deep conclusions one is likely to draw about life when stoned. It’s even surprisingly empowering at times. Personally, I’ve felt inspired to “revolt and transform” at times when listening to this track. The song’s existentialism is relieving, in a way. “It’s all over, we don’t care” - not true most of the time, but in a moment taken aside to unwind, it’s nice to imagine that it could be for a while. -Charlotte King
"Whooo" by 4LYN
“Whooo” by 4LYN taps into that early 2000s nu metal pocket where groove comes first and everything else falls in line behind it. The track leans on a bouncy, almost elastic rhythm, with chunky bass and sharp guitar accents that never overcrowd the mix. The vocals ride that space with an easy swagger, more concerned with flow than force, giving the whole song a loose, unpressured feel that sets it apart from the more aggressive side of the genre.
That laid-back momentum is exactly what makes it click in a stoned setting. The beat is steady without being rigid, the hook loops in a way that feels natural rather than repetitive, and there is just enough texture in the instrumentation to keep your ear engaged without pulling you out of the haze. It settles into a groove you can sit with, letting the rhythm do the heavy lifting while everything else drifts around it.
4LYN land on a version of nu metal that prioritizes vibe over impact, and “Whooo” benefits from that restraint. It has the kind of hypnotic bounce that feels tailor-made for zoning out, where the lines blur between hip hop influence and alt metal edge. Instead of pushing for intensity, it lets you sink into it, which is exactly where it hits the hardest. - Brandon Durden
"Innosense" by Darwin's Waiting Room ft. Shaggy
Props to the executive at RCA Records that set this one up. One of the more out-of-leftfield collaborations to emerge from the genre's early 2000s explosion was this team-up between Miami nu metal outfit Darwin's Waiting Room and Grammy-winning international reggae sensation Shaggy. Yes, none other than Mr. Boombastic himself makes an appearance late into Orphan, the debut album from his nu metal labelmates.
Clearly meant to capitalize of the success of Shaggy's chart-topping smashing "It Wasn't Me," the reggae-tinged "Innosense" offers a surprisingly effective change of pace amidst the seven-string riffs and angst that dominates the record. Built around a simple acoustic guitar groove, the track is at once laidback, wistful, and even a little bit romantic as lead singer Jabe reflects on the push and pull of a fraught relationship. Shaggy and the band's resident MC, Grimm, contrast Jabe's heartache and longing with a nice back and forth as the proverbial angel and devil on his shoulder.
While certain corners of the internet remember Darwin's Waiting Room for their aggro-angsty cover of Tracy Chapman's "Fast Car," or their decidedly unsexy cover of Juvenile's "Back That Azz Up," "Innosense" showcases a sincerity and musicality that elevates what could have easily been a label-mandated attempt crossover appeal. At the same time, it's not hard to imagine a world in which "Innosense" became a radio mainstay alongside softer genre offerings like System of a Down's "Lonely Day" or Incubus's "Drive." -Drew Davis
"Smoking The Herb Again" by Incubus
This song features on the EP When Incubus Attacks, Vol. 1, released on August 22nd, 2000. It is a hidden track that plays after thirty seconds of silence once "Pardon Me (Live)" concludes. Incubus let their silly side loose on this joke rap song about smoking weed. There's no hidden message or deep meaning here, it's just a track expressing fondness for hanging out with friends and getting high. Each band member does vocals on this song, making it a unique performance for the Incubus catalog. It's easy to tell the guys are having fun with this track. If you're looking to spend your 4/20 holiday with a group of friends, "Smoking The Herb Again" is a must-play song for your festivities. -Alex Cross
"Dr. Greenthumb" by Cypress Hill
Cypress Hill are one of the biggest purveyors of ganja in the game. I remember getting their Black Sunday coffee through Dead Sled (RIP), and they had to include a disclaimer that the brew included no THC of any kind. If that doesn't seal it of just how greened out they were and still are, I don't know what will.
While the group isn't explicitly nu metal, they had no issues incorporating rock sounds and guitar sounds into their music. This is a chilled-out track for sure, something more for vibes than anything else. That shouldn't be taken for weakness though, as B-Real's flow here is tight, even if the sound and production is a bit more loose. The music video is also a product of its time, as it is every bit as gonzo and tongue in cheek as the band's lyrics can be, to say nothing of the commercial skit that precedes the song on the album version.
-Lucia Z. Liner
"Natural High" by The Union Underground
The title of “Natural High” might suggest that The Union Underground was trying to use drugs as a metaphor for some other experience but honestly? Not really, at least according to the 40-second outro primarily consisting of bong rips. In general, the song’s lyrics don’t appear to mean much of anything, which I think suits this starter pack just fine. Who wants to get caught up on any of this talk about “the burden of our youth?” Just sit back and ride the vibe (and how about that crazy solo??).
I do wish this song was an example of the Underground’s ability to harness their Texan roots and bring a little bit of southern rock into their nu metal sound. It would have felt fitting, considering the south’s contributions to stoner rock and metal, but I don’t hear much of those influences on “Natural High.” On the bright side, that’s all the better excuse to put on the full record! -Charlotte King
"Narcotic" by Methods of Mayhem
A clear standout from Tommy Lee's much-maligned venture into early nu metal, Methods of Mayhem, "Narcotic" benefits immensely from the presence of Scott Kirkland (The Crystal Method) and being largely instrumental. In lieu of Lee's lackluster lyrics, Kirkland fills the space with freewheeling big beat sonics. The track's scant lyrical content is a litany of surprisingly PG-13 vocal clips merely insinuating drug use: "Wow, this is amazing"; "Give me another one"; "Gimme more"; "The drugs are so advanced." Perhaps it was a bid at making something radio-friendly (The Crystal Method already had rock crossover success two years earlier with "Trip Like I Do" featuring Filter) or an attempt to duck even more media controversy, but the end result is downright quaint. This is an album where the lead single opens with the line "77 million dollars made from watchin' me cum."
Still, it's worth noting that, years before Amy Winehouse's smash hit, Tommy Lee made "Forget about rehab!" into a big beat jam. Am I saying Tommy Lee was ahead of the curve? Yes. Yes, I am. Besides, every genre deserves its own answer to Queens of the Stone Age's "Feel Good Hit of the Summer." -Drew Davis
"Slo Bread" by Ho99o9 ft. Bun B
Known for their in-your-face blend of punk, rap, and techno, Ho99o9 prove they can slow things down with a deceptively straightforward rap track from their second full-length, Skin. Sandwiched between the hardcore/electro freak-out "Bite My Face" featuring Slipknot's own Corey Taylor and the blown-out electro-punk blitz of "Protect My Bitch Pt. 2," "Slo Bread" slows things down to a crawl as TheOGM and Yeti Bones get lost in a haze of weed smoke and other illicit substances. Never one to play things 100% straight, the duo paints themselves as pushers who are out for revenge but can admit they're getting high on their own supply. TheOGM's pitched-down chorus pushes things right to the edge of absurdity. In Ho99o9's world, such a heavy, tweaked-out beat (co-produced by Blink 182's Travis Barker) is also a prime opportunity for satire.
Along for the ride is Bun B, one half of Houston hip-hop legends UGK. B rhymes with swagger and authority that masks the track's sly irony. B "came a long way from havin' a pocket full of them stones," but really that just means he's moved to a less sordid drug of choice. And when he says he's "lookin' just like Texas, but I'm smellin' Cali" one can't help but notice the G-funk-inspired synth line tucked back in the mix. Even with everything on their mind, Ho99o9 know the importance of maintaining a vibe. -Drew Davis
