Last night, Rod Laver Arena transformed into ground zero for what can only be described as a proper warehouse rave on steroids.
But first, let’s talk about moktar. Fusion is a word that gets tossed around a lot these days, but when you’re seamlessly weaving Middle Eastern soundscapes into elements of warehouse techno, you’ve earned the right to use it. It’s clear everytime we see him that the SCDS affiliate is one of the most unique and talented emerging producers in Australia at the moment.
When Liam Howlett and Maxim hit the stage, flanked by an army of black and white flags that made Rod Laver look like some dystopian nation, the place absolutely erupted. Opening with Breathe, they didn’t so much ease into their set as they did throw the entire crowd into the deep end of a pool filled with breakbeats and bass.
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The setup was biblical – lasers reaching out over the crowd like electronic tentacles, while a lighting rig turned the arena into something between a warehouse party and an alien invasion. Maxim decided the stage wasn’t enough territory and invaded the seated area, standing over the crowd like some sort of cyberpunk overlord, replete in a top branded ‘Hero’. He has a mammoth role trying to fill bridging the gap Keith Flint left in this band, but he delivered exactly what you want from a Prodigy show.
The emotional peak came during an instrumental version of Firestarter. As the iconic beats filled the arena, Maxim stood completely still, a silent tribute to Flint that hit harder than words could have. The moment perfectly captured both the loss and the legacy. The Prodigy have managed to honour their past while pushing forward into a future that is not so much about the music – they haven’t released a record since 2018 – but is more about respectfully continuing his legacy.
Liam Howlett, tucked behind his setup like some mad scientist, demonstrated why he’s still one of electronic music’s most vital architects. Every track felt simultaneously classic and contemporary, the mark of someone who’s never stopped innovating even after defining multiple genres. From his early days of crafting hardcore in Essex to now, his ability to read and control a crowd remains unmatched.
This wasn’t just a nostalgia trip – it was a reminder that The Prodigy still fucking matter.
Whether it was classic cuts like Smack My Bitch Up, which spearheaded the encore – or ‘newer’ material from their dubstep-esque era, everything hit with the same intensity that first made them famous. The production might be bigger, the venues larger, but the spirit remains unchanged – this is still music designed to shake buildings and souls, as Howlett recently told us.
For those who’ve followed The Prodigy since their early days, seeing them command an arena with the same energy they once brought to illegal raves is nothing short of triumphant. For the younger crowd experiencing them for the first time – of which there were at least a few – it was a masterclass in how electronic music should be presented live. After seeing them at Big Day Out in their commercial peak, it was a wonderful experience to capture them in the stadium environment in the modern era, lit to the bejeezus.
The Prodigy might have evolved from their origins as Essex rave terrorists, but they’ve lost none of their power to unite a crowd in collective mayhem. Last night proved that even after all these years, no one does it quite like them. The raw energy, the massive production, the uncompromising delivery – it’s all still there, still vital, still essential.
Whether you’re a veteran raver or a curious newcomer, catching The Prodigy in 2025 isn’t just recommended – it’s practically mandatory. Just make sure you’re ready to move. If not, these lads will tell you to stand the fuck up.
