'A primal release': The Prodigy continue the legacy of Keith Flint

Weeks later, they tragically lost their much-loved frontman Keith “Keef” Flint. It’s still raw for Liam Howlett, the UK band’s keyboardist and producer.“The whole of that period is a blur in my mind because of what followed with Keef,” he says. “That’s all I can say about that really. It was a fucked up time.”

The Prodigy 2025 Australia tour

• Feb 13 – Horden Pavillion, Sydney
• Feb 16 – Riverstage, Brisbane
• Feb 18 – Rod Laver Arena, Melbourne

Check out our gig guide, our festival guide, our live music venue guide and our nightclub guide. Follow us on Instagram here.

But now The Prodigy are returning, with the dynamic Maxim (Keith Palmer) as primary vocalist. “We are brothers who respect each other – two different people that come together for the same purpose: to make noise, unite, shake buildings and shake people’s souls.”

For Howlett, touring has been healing. “This is why it is important to us to come back to Australia and play again. We always love playing there, have so many fuckin’ great memories and made many friends over the years – all the way back from the Big Day Out festivals to the Future Music Festivals we played.”

The Prodigy originated in Essex at the start of the 90s. Howlett was DJing when he befriended Flint, then a dancer – the pair forming a renegade collective with Maxim as MC.

The Prodigy’s electro-punk would provide “an emotional charge, a primal release” for audiences in a volatile world, Howlett says. After 1991’s novelty rave track Charly on XL Recordings crossed over, the band debuted with the hardcore-era Experience, followed by the sonically-advanced Music For The Jilted Generation – the first of several UK #1 albums and critically acclaimed.

In 1996 The Prodigy unleashed the menacing big beat anthem Firestarter – Flint emerging as a flamboyant lead vocalist with his iconic double-mohawk, piercings and kohl-rimmed eyes. Unwittingly, the band ignited a bidding war in the US – labels latching onto the new ‘electronica’.

Howlett, adverse to compromising for commercial success, recalls meetings with execs who “just blew smoke up our asses.” They eventually signed to Madonna’s Maverick Records, home to Candlebox, Meshell Ndegeocello and Alanis Morissette.

“Firestarter was a big tune that came out of nowhere and the US labels wanted a piece of us. Madonna came to see us play in a small venue in New York City. She came on her own, no security, no bullshit – and I really respected that. She hung out with us after and knew a lot about us and how we operate. She was just really into it. I don’t like record labels interfering with any of the creative shit – and she said ‘That’s the way it should be.'”

In 1997 The Fat Of The Land topped charts in the UK, US and here in Australia, The Prodigy’s hybrid of techno, hip-hop and metal unifying subcultures. The band had another hit in Breathe, performed by the overshadowed Maxim. Still, they generated controversy with Smack My Bitch Up – the provocative hook sampled from Ultramagnetic MCs’ Give The Drummer Some.

In the interim, The Prodigy opened for those Brit-pop faves Oasis at their historic Knebworth Park concert and, legend has it, upstaged them. They stayed close to the Gallaghers, with Liam singing and Noel playing guitar on the song Shoot Down off 2004’s Always Outnumbered, Never Outgunned.

“We never felt competitive ’cause we were doing our own thing,” Howlett maintains. “Knebworth was an amazing gig and it was Noel who asked us to support them. He has always been into our band. He came to see us in December when we played London. I’ve known both of them a long time. I’ve spent more time with Liam and had some of the funniest times with him. I love them both. I’m glad they are gonna play again – England needs Oasis right now.”

David Bowie approached Howlett to produce an album, only he declined – the single Little Wonder off EART HL I NG subsequently compared to The Prodigy with its industrial breakbeats.

“I love Bowie. He was always a hero of mine and more so as time went on,” Howlett remembers. “I cried when he passed away. When I met him, I liked him even more as just a human – he was a funny guy. We did some big gigs supporting him in the late ’90s.

“He sat down with us and gave us some good life advice which I’ll never forget… [But] it was such a manic time for us. We were so busy on the road, I just couldn’t find any time to work with him – which I always regretted… I just have to think, ‘Fuck it, it just wasn’t meant to be.'”

In 2022 The Prodigy celebrated the 25th anniversary of The Fat Of The Land, with Andy C servicing a banging drum ‘n’ bass remix of Firestarter, and rejoined the live circuit for the first time since Flint’s passing.

Ask Howlett if he’s aware of The Prodigy’s impact and he deflects – legacy is not a preoccupation. “Yeah, I can hear the influence and people tell me, but I never really spend any time analysing shit like that. That’s for journalists to discuss.

“I’ve got better things to do; focusing on what we are doing next and what new tunes I wanna write… I think that’s part of the problem with a lot of artists and bands these days. They are too concerned, or distracted, about everybody else’s opinions; too concerned on being liked.”

And Howlett is buoyant about The Prodigy’s future. “New music is coming this year,” he confirms.

“After Keef passed away, I just didn’t want to go in the studio or do anything – and I didn’t. But time passed and I started buzzin’ going in the studio again. I can’t wait for people to hear our new tunes. I like testing new ideas out live – I’ve always said this – as I can tell straight away if it has the right level of fire! We will have to wait and see what happens in Australia.”

For tickets to see The Prodigy on their Australian tour, head here.