2025.02.16 – Riverstage, Brisbane, Australia

Date: 16th February 2025
Event: The Prodigy Concert – Disrupta Australia Tour
Venue: Riverstage
City: Brisbane
Country: Australia
Support: Moktar

Tracklist:
1. Breathe
2. Voodoo People
3. Omen
4. Climbatize Link
5. Everybody In The Place
6. Beyond The Deathray
7. Firestarter
8. Light Up The Sky
9. Roadblox
10. Poison
11. No Good (Start The Dance)
12. Fight!
13. Their Law
14. Invaders Must Die
15. Diesel Power
Encore:
16. Smack My Bitch Up
17. Take Me To The Hospital
18. We Live Forever
19. Out Of Space

Extra info:
Review by Cody-James Henderson, www.thelivewire.com.au:
I think we all remember where we on the fateful day we heard the news The Prodigy fans never expected to hear. I remember being at my retail job, opening my phone on my lunch break and seeing that Keith Flint had sadly passed away. Fans and strangers alike, whether you loved them or barely knew them had come together to mourn the loss of one of the most uniquely influential individuals the music industry has ever been lucky to know. The world felt extremely cold that day.
To the surprise of many, surviving members Keith ‘Maxim’ Palmer and Liam Howlett made the decision to carry on The Prodigy much to mixed reactions to fans worldwide. The choice made on one simple decision; to carry on Keith’s legacy, forever. For the very first time since 2019, the Titans of Rave have returned to Australia for the ‘Disrupta’ tour. With the Brisbane stop completely selling out just hours before showtime, just what kind of performance were fans in for after all this time?
MOKTAR: ‘Jolene’ is an interesting way to bring in a support act to the stage, but MOKTAR sets the precedence early that bizarre is encouraged in this scene. The Prodigy fans are no strangers to hyping up the evening with levels of dancing to a humming low end buzz, so it’s no surprise to see a small sea of bodies moving around to the likes of Public Enemy seamlessly transitioning into Black Sabbath. I don’t know how it works, but boy does it.
A smoke laden field erupts for a remix of Bomfunk MCs ‘Freestyler’ blaring out loud, moving bodies into standing positions to rock the microphone. Even the most veteran of ravers amongst us tonight could appreciate a classic like this, and if they weren’t dancing then their heads were surely bopping.
Effortlessly bonding genres and samples from all walks of life, MOKTAR effortlessly transform the hills of Brisbane Riverstage into raving field dancefloor, equipped with strobe flashes, glaring house lights and party bulbs across the rainbow. Whether it was classic House, Techno, Drum n Bass, Electronica or even Reggae infused elements, MOKTAR was the opening move to tonight’s game.
THE PRODIGY: A herbed aroma fills the air. The sea is full of glow sticks, fluorescent clothing, reverse Mohawks dyed in vibrant colours the likes of which Keith would’ve been proud to see. Dance mixes are blasting out the speakers the hold glow in the dark stage equipment. Seeing The Prodigy isn’t just another concert. Oh no, it is a full weekend festival experience jam packed into 90 minutes. And as the clock ticks down for showtime it’s hard to be more prepared than how Brisbane are right now.
As we hear Keith’s distinct and highly missed voiced call out ‘Disrupta’ the kings of rave bust straight into ‘Breathe’ as a plethora of phone screens quickly disappears and turn into pumping fists that only seem to multiply for ‘Voodoo People’. Maxim calls for his “Voodoo People. My Prodigy People. My Brisbane People” and Brisbane gives them the energy of thousands right back as if it were actually 1994. The jilted generation are here tonight.
Howlett only amplifies the party with ‘Everybody in the Place’ sending crowdsurfers into a craze. And as the rest of the band returns to the stage, familiar words fill the screen.
“Fear Addicted, Danger Illustrated”
Eyes shine at the back of the stage, fists are raised for the “Trouble Startin, Punkin Instigator” one and only Keith Flint. Even if you’re only familiar with the hits of The Prodigy, this is a truly sombre party experience. On one hand, the pace changing, remixed electronic classic only captivates the audience into witnessing a spectacular the likes of which can only be imitated and never replicated by anyone else. But on the other hand, Keith should still be here. He should be witnessing this extravaganza he helped revolutionise. Excuse me while I go cry for a moment.
As you watch bands performance and extreme levels of energy, you do sort of forget that this is a band that’s been doing this for 35 years. Maxim is approaching 60 years of age, but conveys himself in a manner that I only wish I could replicate a percentage of, and with more spirit than most performers half his age. I have never seen an audience at almost any show be as receptive, as motivated, as crazy as what I’m witnessing tonight. And the lights are not for the faint of heart. Strobe flashes on the double, laser shoot into the skies like a signal for Batman, house lights blaring into the eyes of the thousands in attendance. Everything is precision down to the tiniest degree. Not a single thing is out of place, not a beat missed, not a single word coming out of my mouth other than “Holy Fuck”.
This isn’t just a show, this is a spectacle. Words cannot do justice to what I am witnessing.
‘Get Your Fight On’ leads to Maxim asking us “Do you want to go fucking deeper?” As we go into ‘Their Law’ where we are swiftly reminded to say “Fuck them all”. The Kings of Rave have also always been the most Punk Rock thing to happen to Dance/Electronic music and the genre is so much better for it. Especially when a song like ‘Invaders Must Die’ hits the set simultaneously turning the field into 50% dancefloor, 50% mosh pit but 100% a wild time for all.
Albeit controversial, the band kicks off their encore with the infamous ‘Smack My Bitch Up’. A song that has been voted by the media as incredibly dangerous, the band seem to be following suite still on changing the lyrics to ‘Change My Pitch Up’ something that Maxim started doing in 2019. The song still hits all the same but also removes its association with DV. A move that has to be respected. ‘We Live Forever’ hits not just with intensity as Maxim barks out the chorus to Brisbane tonight, but as a true testament to the bands ability to push through unimaginable tragedy to continue being one of the greatest live acts not just of this generation but of all time.
My job is extremely simple. I attend concerts and write about them for audiences to read. It’s a fairly simple task. But how do you go about summarising 90 minutes of pure spectacular? How do you truly capture in words one of the greatest concerts you’ve ever seen?
Truth is you can’t. No words, no description, no detailed recounts will ever capture just how good The Prodigy are to witness live. 47 days into the year is all it has taken for me to say; This is the greatest show 2025 has to offer.
Keith Flint Forever.

Review by Lars Brandle, au.rollingstone.com:
On a Night of Hits and Heat, The Prodigy Winds Back the Clock at Brisbane Concert
If there were question marks on this third incarnation of the Prodigy, answers were provided within 30 minutes of this latest performance
Father time is undefeated. The Prodigy doesn’t care.
Next year marks the 35th anniversary of “Charly,” the British electronic punks’ first single. Since the starter’s gun went off on the group’s career, seven studio albums have dropped — for seven No. 1s in their homeland.
Their sound, those big, broken beats and that signature, nasty compressed synth, crossed the Atlantic and gave the lads a groundbreaking #1 in the world’s biggest music market at a time when, to paraphrase Eminem, no one was listening to techno.
It makes no sense for the Prodigy, in 2025, to still be in the hunt. More so when the group lost its frontman Keith Flint, a weapon of a performer.
When the group lit up Brisbane once again on Sunday night, February 16th, they did so for the first time without their firestarter, and raised a middle finger to old father time.
Five years have passed since the Prodigy last toured these parts, or anywhere. That 2019 tour of Australia and New Zealand turned out to be Flint’s swansong, the dancer and energy man passing just weeks after those shows.
If there were question marks on this third incarnation of the Prodigy, on stamina and fire, the answers were provided in the first half hour of this latest performance.
On a balmy school night, Liam Howlett, the producer, the mastermind, and the alchemist of this act, switched up the setlist from the previous two shows at Sydney’s Hordern Pavilion. Flint wasn’t in the house, but his spirit sure was as samples of his “crowd disruptor” line from Fat of the Land’s “Serial Thrilla” rang out and paved a sonic path into “Breathe.” Maxim handled Keith’s lines.
“It’s just getting fucking warm,” emcee Maxim remarked during a lull in “Voodoo People.” He wasn’t wrong. Brisbane at this time of year is either too hot for comfort, or battered by storms. “There’s a lot of fucking people here. Is this all the fucking people in Brisbane or what?” The numbers on the Riverstage’s sloping lawn were actually closer to 9,000, all of them dancing.
More questions were answered when the Prodigy hit “Firestarter,” the 1996 hit that saw Flint take the mic for the first time — and take over the sales charts (“Firestarter” logged three weeks at No. 1 on the Official U.K. Albums Chart and its parent, Fat of the Land, topped the Billboard 200).
More than any song in their arsenal, “Firestarter” represents Keith Flint. As a reminder, At the top, a reminder by way of a projection of Flint’s face on the backdrop. Then, in the song proper, the Prodigy paid homage by not inserting Flint’s vocal samples into the mix. He is, after all, irreplaceable.
Backed by live drums and guitars, Howlett and Co. delivered something old, something new, by swinging through “Light Up the Sky” from their latest studio album, 2018’s No Tourists, “Roadblock” and the classics “Poison” and “No Good,” “Their Law” and a cracking mashup of “Diesel Power” with the theme from “Knight Rider”.
A Prodigy set doesn’t have soft moments. It’s a relentless flurry of punches to the eyes and the ears, never a cheesy ballad in sight.
Many in the audience on Sunday night are old-school, followers from day nought. Australia’s underground rave scene had early access to the Prodigy, and the Sunshine State had rare clearance. The original lineup, a foursome of Howlett with Flint, Maxim and dancer Leeroy Thornhill had the honours of closing the legendary Fortitude Valley nightclub The Site back in 1994.
In 1996, before the Prodigy went supernova, a remarkable set performed some 75km down the Pacific Motorway for the Gold Coast leg of the Big Day Out, playing the Boiler Room. Boiling Room, more like. The concrete room was so hot, Flint reportedly exited the gig on a stretcher. He wasn’t the only one.
The following year, the Prodigy graduated to the mainstage of the once-mighty festival.
“Is Brisbane too fucking hot for you?” Not for me,” Maxim declared on Sunday night. “I thrive in this shit. It’s cold for me …all my hot and sweat sweaty people”.
A four-song encore closed out the evening, leading with “Smack My Bitch Up” and ending with “Out of Space,” a standout from that debut album Experience, released a year after Nirvana changed the music world with Nevermind.
Though the Prodigy’s albums output has dried up in recent years, Howlett tells Rolling Stone AU/NZ that more music is on the way. And with any new release, a great excuse to hit the road again.
“We love fucking coming to Australia,” remarked Maxim near the close. “Good weather, good food, good fucking people”. Lock it in.