Hailed for helping break down the barriers between rock and dance (sounds so 2004!) more than a decade ago, English misfits The Prodigy rolled into town in support of the first album in eight years, Always Outnumbered, Never Outgunned (AONO). Promoted as the album taking the Prodigy (Liam Howlett) back underground to the old school; commercially, and many would argue musically, it’s so far failed to have the same impact as it’s predecessors. Especially the ground breaking 1994 album Music For The Jilted Generation and 1997’s mega seller The Fat Of The Land.
A late sound check meant that those arriving for the advertised opening time of 8pm were left waiting for over an hour. Upon finally making it in, there was little time to check out the venue for this first timer before a vantage point had to be secured and guarded against the rapidly filling hordes. How people could possible enjoy the show behind the perspex on the second floor with the sound behind them was puzzling. It was immediately obvious that this 3-tiered shell of a venue had seen it’s fair share of action and would be well suited for the mayhem to follow.
Adam Freeland seemed an appropriate support DJ for the night with his current rock-dance leanings. Whilst having some obvious fans in the crowd, it was clear most were there for the headliner and at times he seemed frustrated at the largely static mass in front of him. The best responses were saved for the familiar hooks of countless, mostly tried (& tired) and tested, bootlegs. He showed a sense of humour though when going from The Cult’s She Sells Sanctuary to The Doors Hello I Love You (former Cult singer Ian Astbury now fronts the recently reformed Doors). His set was an enjoyable listen but the biggest complaint from this reviewer is that the big chunky beats he’s favoured lack the fluidity that promote movement and funkiness on the dancefloor.
The Prodigy were quick to take to the stage shortly before 11. Firstly the full-time guitarist and drummer (no official intros), followed by the puppeteer (Howlett) behind his masses of equipment, all being fed through two lap tops running his new favourite program Ableton Live. The real cheers were saved for the faces of the touring Prodigy, Keith Flint and Maxim Reality. Despite a show in Sydney the night before they both seemed up for some fun and were visibly looking fitter and healthier than recent years.
Whilst the recorded Prodigy is a Liam Howlett solo affair he’s all too aware that the success of the live show is dependent on the energy of his two front men. Keith with his bleached mohawk, dark eyeliner and army greens; Maxim with his black bondage outfit guaranteed not to make it through any metal detector. They had the crowd in the palm of their hands for most of the night. Keith provoked the masses with psychotic stares and strategic snarls whilst Maxim let out his manic screams and acted as the bands communicator with the crowd.
Whilst several tracks such as Girls and Spitfire from AONO received an airing, the show was dominated by anthems from Jilted Generation and Fat of the Land. Included were Breathe, Firestarter, Their Law and Poison. A highlight came when Kool Keith, in town for his own show the following night, was invited on stage for Diesel Power and later during the encore for Smack My Bitch Up (seeming to get a little too into the tracks repetitive chant).
An hour and fifteen minutes after it all began they finished all too soon. As a live outfit they proved that they’ve still got the ability to fire up a crowd, albeit heavily reliant on old classics rather than new gems. There was personal disappointment at the omission of Voodoo People and No Good (Start the Dance), pleasant surprise at the revisiting of the debut album Experience with Outta Space (when touring post-Jilted Generation they have until now largely ignored this album). For $70 is seemed too short and for a sideshow one hoped for more. But for what we got it was every bit as mad and fun as one hoped for.
