Prowling panto frontmen unleash The Prodigy's brute rock force and frenetic drum and bass
PROJECTED across the empty stage, The Prodigy’s giant ant logo seemed to serve as a Bat-Signal for the veteran ravers and Reading and Leeds regulars who had come to Alexandra Palace in their throngs. Certainly both camps were generously catered for in the Essex band’s subsequent set, which harnessed the brute force of rock while channelling the frenetic rhythms of drum and bass.
From the life-size bus replica at the back of the stage to the gigantic lighting rig and bank of lasers, there was nothing subtle about the staging.
That cartoonish quality was mirrored in the performances of frontmen Keith Flint and Maxim, who prowled, sneered and encouraged audience participation like seasoned pantomime villains.
Indeed, the ludicrous nature of their stage personas has only become more pronounced over the years, be it the former’s sub-John Lydon sneer, or the latter’s role as MC/aggressive sergeant major.
If there was any sonic nuance intended, it was completely lost in The Great Hall. The hyperactive melody of 1994 hit Voodoo People was all but drowned out by over-loud bass, while the jackhammer beats and serrated guitars on track Champions Of London were rendered a disappointing sludge.
Only controversial single Smack My Bitch Up could survive the room’s muddy acoustics, and the brutal strobe and sub-bass-powered rendition proved a stand-out moment.
Though material from recent number one album No Tourists was generously received, juxtaposed with classics from The Fat Of The Land and Experience they came over as cynical attempts to recreate a winning songwriting formula, while delivering diminishing returns.
And yet, there’s still no other group that straddles the divide between hard rock and electronic music quite so effectively.