Complete List Of The Prodigy Albums And Songs

Feature Photo: Aleksandar Kamasi / Shutterstock.com

From the urban sprawl of Braintree, Essex, The Prodigy blasted onto the music scene at the tail end of the 1980s, led by the vision and drive of Liam Howlett. Howlett, with a background steeped in hip-hop and electronic music, began his journey crafting demos in his bedroom, but it was his fateful connection with dancer Keith Flint and Leeroy Thornhill at a local rave that ignited what would become one of the most influential acts in electronic music. With the addition of MC Maxim Reality, the group solidified its lineup and quickly became an underground sensation on the burgeoning UK rave circuit, known for their incendiary live shows and boundary-pushing sound.

Their debut, Experience, arrived in 1992 and encapsulated the ecstatic energy of early ‘90s rave culture. Howlett’s compositions fused breakbeat, hardcore techno, and acid house, giving birth to club anthems like “Charly” and “Out of Space.” The album’s impact was immediate, reaching platinum status in the UK and peaking at number twelve on the UK Albums Chart. Not content to be confined to any one style, The Prodigy followed up with 1994’s Music for the Jilted Generation, an album that both reflected and rebelled against the commercialization of rave culture and the UK’s tightening legislation against unlicensed parties. This record, featuring tracks like “No Good (Start the Dance)” and “Voodoo People,” marked a shift toward a heavier, more aggressive sound, blending breakbeats with rock and industrial elements and earning a nomination for the Mercury Music Prize.

The Prodigy’s international breakthrough exploded with 1997’s The Fat of the Land. This album cemented the band’s legacy as global innovators, with a string of singles—“Firestarter,” “Breathe,” and the infamous “Smack My Bitch Up”—each topping charts and dominating airwaves across Europe and North America. Keith Flint’s transformation from dancer to the band’s ferocious frontman became a central part of their live presence and public image, while Maxim’s dynamic vocals added depth to their already combustible sound. The Fat of the Land debuted at number one in both the UK and US, and went on to sell over ten million copies worldwide, earning a Guinness World Record as the fastest-selling dance album in UK history.

Despite the worldwide fame, The Prodigy maintained a fiercely independent identity, unafraid to challenge critics and fans alike. Their fourth album, Always Outnumbered, Never Outgunned (2004), saw Howlett return to the creative forefront, producing and recording almost the entire album himself, with guest spots from artists like Juliette Lewis and members of Oasis. Though the record’s reception was mixed compared to their earlier work, it nonetheless showcased Howlett’s relentless desire to push electronic music forward.

The band’s 2009 release, Invaders Must Die, marked a return to their full trio lineup, with all members actively contributing to the songwriting and performance. This album merged their classic rave sensibilities with contemporary electronic production, resulting in a commercial comeback—debuting at number one on the UK Albums Chart and spawning a series of high-energy singles like “Omen” and “Warrior’s Dance.” The Prodigy’s live shows during this era became legendary for their intensity, drawing enormous crowds at festivals and arenas around the world.

The Prodigy’s catalogue continued to evolve with The Day Is My Enemy in 2015, an album that channeled the aggression and social unrest of the times into razor-edged anthems. Even as trends in electronic and dance music shifted, the group’s uncompromising style and visceral stage presence kept them at the cutting edge of the genre. Their seventh studio album, No Tourists, released in 2018, further reinforced their reputation as architects of rave-punk, blending unrelenting beats, hooks, and riotous energy into a modern statement that resonated with both new fans and longtime devotees.

Their impact extends far beyond sales and awards. The Prodigy have been widely credited with bringing electronic music to the mainstream, bridging the gap between dance and rock audiences, and inspiring countless acts in genres ranging from EDM and industrial to hip-hop and punk. The group’s string of accolades includes multiple Brit Award nominations, MTV Europe Music Awards, and a Mercury Prize nomination, reflecting their wide-ranging influence and respect within the music industry.

Offstage, the members have each made their mark. Liam Howlett has produced and remixed for a range of artists, while Keith Flint, until his passing in 2019, was a passionate supporter of grassroots motorcycle racing and local causes. Maxim has released solo music and engaged in visual arts. The band’s charitable involvement and outspoken views on artistic freedom have also set them apart as more than just musical pioneers.

The sudden death of Keith Flint in 2019 marked a turning point in the band’s history, with fans and fellow musicians paying tribute to his magnetic stage presence and contributions to the group’s identity. Nevertheless, The Prodigy have carried forward, honoring Flint’s memory with live performances and new music, and maintaining the confrontational, celebratory spirit that defined their sound from day one.

As of today, The Prodigy’s discography includes seven studio albums: Experience (1992), Music for the Jilted Generation (1994), The Fat of the Land (1997), Always Outnumbered, Never Outgunned (2004), Invaders Must Die (2009), The Day Is My Enemy (2015), and No Tourists (2018). Each record stands as a testament to their enduring creativity and their refusal to compromise. From the illegal raves of Essex to stadiums and festival main stages around the globe, The Prodigy’s story is one of innovation, resilience, and relentless energy—forever etched into the DNA of modern music.

Experience

Released – 1992

When Experience arrived on September 28, 1992, it signaled the explosive debut of The Prodigy and, by extension, the breakbeat hardcore rave sound that would electrify the early ‘90s UK dance scene. Crafted almost entirely by mastermind Liam Howlett, the album was recorded between 1991 and 1992, with Howlett single-handedly handling production, programming, keyboards, synthesizers, and engineering. Maxim Reality, the only other band member to contribute at the time, lent his vocals to the closing track “Death of the Prodigy Dancers (Live).” The sessions took place in the UK, with Howlett drawing on the era’s vibrant underground rave culture, sampling techniques, and respect for fellow scene luminaries like SL2, Carl Cox, and Orbital, all of whom are namechecked in the liner notes.

Experience found its home on XL Recordings in the UK and was later released in the United States by Elektra Records, helping to introduce American audiences to the high-velocity British rave movement. From the relentless opener “Jericho” to the chart-crushing singles “Charly” and “Everybody in the Place (155 and Rising),” the album delivers a barrage of hyperactive beats, infectious synth hooks, and crowd-pleasing vocal samples. Notably, “Out of Space” stands as an anthem of its time, infusing reggae influences with pounding breakbeats and innovative production that pushed the genre’s boundaries. While Howlett’s programming and sampling are front and center, additional vocal contributions from Simone appear on tracks like “Music Reach (1/2/3/4)” and “Ruff in the Jungle Bizness.”

With its riotous blend of breakbeat, hardcore, and early jungle, Experience captured the restless, genre-bending spirit of UK rave culture at its peak. Its legacy endures as a blueprint for electronic acts that followed, a testament to Liam Howlett’s singular vision and the raw creative energy of The Prodigy’s formative years.

CD Track Listings:

“Jericho” 3:42
“Music Reach (1/2/3/4)” 4:12
“Wind It Up” 4:33
“Your Love (Remix)” 5:30
“Hyperspeed (G-Force Part 2)” 5:16
“Charly (Trip into Drum and Bass Version)” 5:12
“Out of Space” 4:57
“Everybody in the Place (155 and Rising)” 4:10
“Weather Experience” 8:06
“Fire (Sunrise Version)” 4:57
“Ruff in the Jungle Bizness” 5:10
“Death of the Prodigy Dancers (Live)” 3:43

Music for the Jilted Generation

Released – 1994

With Music for the Jilted Generation, released on July 4, 1994, The Prodigy delivered a record that became a defining moment not just for the band, but for the entire evolution of British electronic music. Recorded at Earthbound Studios and The Strongroom in London, the album was crafted primarily by Liam Howlett, who handled synthesizers, keyboards, drum machines, and nearly all programming, production, mixing, and engineering. As with the group’s debut, Maxim Reality was the only other member to contribute musically, co-writing and providing vocals on “Poison.” The remaining members, Keith Flint and Leeroy Thornhill, featured in the album’s visuals and live shows, but not on the recordings.

Combining the energy of rave, the relentless drive of breakbeat and hardcore techno, and a darker, heavier sonic palette, Music for the Jilted Generation captured the tension and creativity of the UK’s club scene in the mid-90s. The album’s political edge is unmistakable, shaped in part by the United Kingdom’s Criminal Justice and Public Order Act of 1994, which sought to criminalize raves and clamp down on youth culture. This undercurrent surges through tracks like “Their Law” (featuring Pop Will Eat Itself), with its defiant samples and heavy guitars, and is reflected in the iconic artwork by Stewart Haygarth and Les Edwards. Still, Liam Howlett would later downplay the album’s political intent, calling the title “stupid” and insisting it was never meant to be a protest record.

From the moment “Break & Enter” explodes out of the speakers, the album’s sound is gritty and uncompromising, packed with industrial edge, heavy basslines, and aggressive beats. Standouts like “Voodoo People” blend live guitar from Lance Riddler with Howlett’s production wizardry, while the unforgettable “No Good (Start the Dance)” became an international anthem and a staple of ‘90s dancefloors, sampling Kelly Charles’ “No Good for Me.” Elsewhere, “Poison” showcases Maxim Reality’s vocal power over thick breakbeats and funk-infused samples, and the three-part “Narcotic Suite” closes the album with a psychedelic, almost cinematic sweep.

Music for the Jilted Generation debuted at number one on the UK Albums Chart, eventually earning double platinum status in the UK and selling hundreds of thousands of copies worldwide. It climbed to number one in Finland, landed top five in the Netherlands, and cracked the top ten in countries as far apart as Australia, Sweden, and Switzerland. In the U.S., the album appeared on Billboard’s Top 200, helping to grow the band’s cult following overseas.

The record’s innovative use of samples—from films like Star Wars, Poltergeist III, and 2001: A Space Odyssey, as well as a wide array of funk and dance classics—cemented Howlett’s reputation as a sampling virtuoso. The album’s influence has only grown with time, regularly appearing on lists of essential albums and “must-hear” records, including 1001 Albums You Must Hear Before You Die and Mojo’s list of modern classics.

CD Track Listings:

“Intro” 0:45
“Break & Enter” 8:24
“Their Law” (featuring Pop Will Eat Itself) 6:40
“Full Throttle” 5:02
“Voodoo People” 6:27
“Speedway (Theme From Fastlane)” 8:56
“The Heat (The Energy)” 4:27
“Poison” 6:42
“No Good (Start the Dance)” 6:17
“One Love (Edit)” 3:53
“The Narcotic Suite: 3 Kilos” 7:19
“The Narcotic Suite: Skylined” 5:56
“The Narcotic Suite: Claustrophobic Sting” 7:13

The Fat of the Land

Released – 1997

The Fat of the Land stands as a landmark in electronic music history and remains The Prodigy’s best-selling and most influential release. Dropping on June 30, 1997, via XL Recordings, the album quickly ignited a worldwide firestorm, topping the UK Albums Chart and debuting at number one on the US Billboard 200—a rare feat for any electronic act at the time. The project was recorded between late 1996 and spring 1997, with Liam Howlett once again at the creative helm, handling all composition, programming, production, and much of the engineering and mixing. This album marks the first time Keith Flint, long a visual focal point for the group, contributed full lead vocals, particularly on the iconic “Firestarter” and “Breathe,” while Maxim Reality also took prominent vocal duties.

The album’s bold visual identity—a crab scuttling across a Costa Rican beach, captured by photographer Christian Ammann—became instantly recognizable, mirroring the group’s move toward a raw, aggressive, and genre-busting sound. Tracks like “Smack My Bitch Up” (featuring Shahin Badar) and “Firestarter” pushed boundaries with their explosive beats and incendiary energy. The inclusion of guest vocalists such as Kool Keith (“Diesel Power”), Saffron (“Fuel My Fire”), and Crispian Mills (“Narayan”) broadened the sonic palette, while guitarist Jim Davies (on “Breathe” and “Firestarter”), Gizz Butt, and even Soundgarden’s Matt Cameron (drums on “Narayan”) added an unexpected rock edge.

At the center of the album’s impact are its seismic singles. “Firestarter” and “Breathe” both shot to number one on the UK Singles Chart, while “Smack My Bitch Up” became one of the decade’s most controversial—and discussed—songs, drawing both critical acclaim and public scrutiny. Despite protests, Liam Howlett defended the song’s intent as a pure celebration of intensity. The video for “Smack My Bitch Up” was banned by several networks but has since been acknowledged as a milestone in music video history. The album’s success was instant and enduring: by the end of 1997, The Fat of the Land had achieved multi-platinum status across the globe, and by 2019, it had sold over 10 million copies worldwide.

CD Track Listings:

“Smack My Bitch Up” 5:42
“Breathe” 5:35
“Diesel Power” 4:17
“Funky Shit” 5:16
“Serial Thrilla” 5:11
“Mindfields” 5:40
“Narayan” 9:05
“Firestarter” 4:41
“Climbatize” 6:38
“Fuel My Fire” 4:19

Always Outnumbered, Never Outgunned

Released – 2004

Always Outnumbered, Never Outgunned is The Prodigy’s fourth studio album, marking a dramatic left turn in their career and creative approach. Released on August 11, 2004, through XL Recordings and Maverick, this album is notable for being essentially a solo project by Liam Howlett. While The Prodigy had always been Howlett’s creative vehicle, this is the only full-length in the band’s discography where Keith Flint and Maxim Reality do not appear on the official record, leaving Howlett to handle all production, programming, composition, and instrumental performance. The album’s title, a nod to the Walter Mosley novel Always Outnumbered, Always Outgunned, hints at both its outsider energy and Howlett’s dogged determination to push the band forward on his own terms.

The recording process for Always Outnumbered, Never Outgunned stretched from September 1998 to April 2004. Pre-production took place at Mews Recording Studios, with Howlett relying heavily on Propellerhead Reason software for composition and arranging, working mostly from his laptop and a selection of vintage analog synths and compressors. Mixing and mastering were handled through Pro Tools, with Neil McLellan joining for co-production, engineering, and additional programming. Mastering was completed by Damian Taylor, Moet Mastered, and Emily Lazar. After an extended period of writer’s block, Howlett relocated several times, ultimately finishing the album in London after a creative reset.

Rather than featuring the familiar vocals of Flint and Maxim, Howlett loaded Always Outnumbered, Never Outgunned with a diverse lineup of guest contributors, giving the album an unpredictable and eclectic vibe. Notable appearances include actress Juliette Lewis (“Hotride,” “Spitfire,” and “Get Up Get Off”), Oasis frontmen Liam and Noel Gallagher (“Shoot Down”), Kool Keith (“Wake Up Call,” “You’ll Be Under My Wheels”), Princess Superstar (“Memphis Bells”), American rapper Twista (“Get Up Get Off”), and the Magnificent Ping Pong Bitches (“Girls”). Shahin Badar and Hannah Robinson also make guest vocal appearances, and Scott Donaldson, Mike Horner, and Jim Davies contributed guitar work.

Stylistically, the album moves away from the aggressive big beat and industrial techno of The Fat of the Land in favor of a stripped-back, more electropunk and digital sound. Songs like “Spitfire,” “Girls,” and “Hotride” push a hyperactive digital edge, while tracks such as “Medusa’s Path” and “Phoenix” explore instrumental and experimental territory. Notably, “The Way It Is” features a prominent sample from Michael Jackson’s “Thriller,” and “Shoot Down” incorporates Oasis’s signature swagger, creating a unique blend of rock and electronic.

Promotion for the album included several singles, with “Girls” leading the charge and entering the UK singles chart at number nineteen. “Hotride” and “Spitfire” followed, while “Memphis Bells” saw an innovative release as a limited-edition digital download with customizable mixes—a first for the band and a hint at the evolving music marketplace of the early 2000s. Despite these efforts, none of the album’s singles achieved the commercial heights of earlier Prodigy hits, though the album itself debuted at number one on the UK Albums Chart and reached the top five in Australia.

Commercially, the album earned a gold certification in the UK, with strong chart performances across Europe and Australia. However, it is regarded as one of The Prodigy’s lower-selling releases, and following its cycle, XL and Maverick parted ways with the band after the 2005 compilation Their Law: The Singles 1990–2005.

Always Outnumbered, Never Outgunned stands as a bold, polarizing chapter in The Prodigy’s discography—a snapshot of Liam Howlett’s singular vision, powered by technology, collaboration, and an unrelenting urge to defy expectations.

CD Track Listings:

“Spitfire” 5:07
“Girls” 4:06
“Memphis Bells” 4:28
“Get Up Get Off” 4:19
“Hotride” 4:35
“Wake Up Call” 4:55
“Action Radar” 5:32
“Medusa’s Path” 6:10
“Phoenix” 4:38
“You’ll Be Under My Wheels” 3:56
“The Way It Is” 5:45
“Shoot Down” 4:32

Invaders Must Die

Released – 2009

After more than a decade of shifting scenes, chart-topping chaos, and the occasional public doubt, The Prodigy stormed back in 2009 with Invaders Must Die—an album that didn’t just reclaim their spot at the top of the electronic universe, but did it with a vengeance. Recorded over a lengthy stretch between London and New York, this record found the band digging back into their roots while reshaping them for a new world hooked on big beats and high-speed adrenaline. It was the first album made entirely as a trio, with Leeroy Thornhill having left, and for the first time, every remaining member—Liam Howlett, Keith Flint, and Maxim—was hands-on in the studio. The energy is palpable on every track.

Liam Howlett, the band’s ever-restless sonic architect, teamed up with James Rushent to produce a wall of sound designed to be as raw and relentless as anything The Prodigy had delivered before. Songs were crafted with a mash-up philosophy—riffing off their own history while grabbing at the evolving sound of late-2000s electronica and nu-rave. The record pulls together threads from Music for the Jilted Generation, the primal stomp of The Fat of the Land, and something entirely new, with a cinematic, nearly apocalyptic sense of drama. There’s no mistaking the fist-in-the-air intent behind every drop and every distorted bassline.

The album wastes no time. The opening title track, “Invaders Must Die,” throws down a challenge—an announcement that the band is not here to coast on nostalgia. “Omen” follows, one of the most anthemic tracks in their catalog, loaded with frantic synths and a chorus tailor-made for festival mayhem. Keith Flint and Maxim, always unpredictable, take turns on the mic, throwing wild energy and unfiltered attitude into songs like “Take Me to the Hospital,” “World’s on Fire,” and the breakneck “Run With the Wolves,” which gets a shot of punk ferocity courtesy of Dave Grohl’s live drums.

This isn’t a record of guest stars for the sake of hype, but a tightly-wound machine where every contributor—Amanda Ghost’s harmonies, Tim Hutton’s horns, Brother Culture’s fire—is deployed with purpose. Howlett’s production is thick and layered, and you can feel the gear and the sweat in every measure. The Prodigy had always thrived on chaos and the collision of styles; here, that chaos is tightly choreographed, ready to explode.

Visually and physically, the album’s rollout matched its attitude. There were deluxe box sets with vinyl, posters, and art for fans who wanted to immerse themselves in the experience. Videos for “Omen,” “Warrior’s Dance,” and the monstrous “Take Me to the Hospital” were as kinetic and unhinged as the music—part rave, part fever dream, part urban legend. Even the packaging was an event, with limited-edition clear vinyl issued for the ten-year anniversary.

But beyond the numbers and awards, what Invaders Must Die delivered was attitude—the unrepentant swagger of a band that never learned to take orders and never wanted to. It’s an album made for late nights, long drives, and those moments when nothing less than an all-out sonic assault will do. In the story of The Prodigy, Invaders Must Die stands tall as the moment they seized back control, proved their legacy, and reminded everyone that electronic music can—and should—have teeth.

CD Track Listings:
“Invaders Must Die” 4:55
“Omen” 3:36
“Thunder” 4:08
“Colours” 3:27
“Take Me to the Hospital” 3:39
“Warrior’s Dance” 5:12
“Run With the Wolves” 4:24
“Omen (Reprise)” 2:14
“World’s on Fire” 4:50
“Piranha” 4:05
“Stand Up” 5:30

The Day Is My Enemy

Released – 2015

The Day Is My Enemy landed in 2015 like a brick through a window—a noisy, riotous, and sometimes confrontational album that pushed The Prodigy’s energy to new extremes. By this point, the band had weathered waves of copycats, survived the highs and lows of dance music’s popularity cycles, and outlasted countless trends. This record was a statement that they weren’t just relevant—they were still out for blood.

Recording sessions stretched from 2012 to 2014, with the bulk of the work happening at Sarm West Studios in London and at bandleader Liam Howlett’s own home setup. Unlike some of their previous outings, The Day Is My Enemy was a group effort from the start. Maxim and Keith Flint were all over these songs—shouting, snarling, spitting fire. This was the sound of a band coming together, throwing everything they had into a project meant to feel both anarchic and meticulously crafted.

Howlett produced and mixed every track, refusing to let anyone else dilute his vision. The album opens with the title track, a dark, almost menacing piece that sets the tone: pounding drums, snarling synths, and a sampled Ella Fitzgerald lyric that somehow fits perfectly in The Prodigy’s dystopian soundscape. “Nasty” arrives next, Keith Flint’s voice dripping with punk venom, the chorus built for shout-alongs in packed venues.

The record barrels forward with “Rebel Radio,” “Wall of Death,” and “Ibiza”—the last featuring Sleaford Mods and delivering a tongue-in-cheek jab at superstar DJ culture. There’s industrial noise, punk attitude, breakbeats dialed up to eleven, and an undercurrent of paranoia that feels both modern and distinctly British. Tracks like “Rhythm Bomb” (with Flux Pavilion) and “Get Your Fight On” keep the pressure high, never letting up for long.

What stands out here isn’t just aggression for its own sake. The Day Is My Enemy is laced with the clever, sometimes caustic sense of humor and pop culture subversion that’s always set The Prodigy apart. They know how to push buttons, and they know when to hit you with a riff, a drop, or a sample that cuts right through the noise.

Critically, the album sparked debate—some called it a triumphant return, others saw it as too much of a good thing—but there’s no question about the impact. The album debuted at number one in the UK, making The Prodigy the first band ever to have six consecutive number one studio albums on the UK Albums Chart. Singles like “Nasty” and “Wild Frontier” turned up everywhere from festivals to commercials, their anthemic choruses sticking in the brain like graffiti on city walls.

As always, Howlett surrounded himself with the right collaborators. Alongside Flint and Maxim, the album features additional vocals and production flourishes from a cast that includes Sleaford Mods and Flux Pavilion. The sound design is dense, layered, and aggressive—no soft edges, just pure, unfiltered Prodigy energy.

With The Day Is My Enemy, The Prodigy reminded the world that you can grow older without growing tame. This is the sound of a band that still relishes chaos, still believes in the power of electronic music to be loud, rude, and dangerous. In a world of streaming algorithms and manufactured hits, The Prodigy planted their flag once again and dared anyone to come take it from them.

CD Track Listings:
“The Day Is My Enemy” 4:24
“Nasty” 4:03
“Rebel Radio” 3:52
“Ibiza” (featuring Sleaford Mods) 2:45
“Destroy” 4:28
“Wild Frontier” 4:28
“Rok-Weiler” 4:06
“Beyond the Deathray” 3:08
“Rhythm Bomb” (featuring Flux Pavilion) 4:12
“Roadblox” 5:01
“Get Your Fight On” 3:38
“Medicine” 3:56
“Invisible Sun” 4:16
“Wall of Death” 4:13

No Tourists

Released – 2018

Arriving in 2018, No Tourists sounded like a band refusing to rest on reputation, even as The Prodigy entered their third decade of sonic anarchy. It’s the seventh studio album from the Essex trio, unleashed on November 2, 2018, through BMG and their own Take Me to the Hospital label. Liam Howlett, Maxim, and Keith Flint—by this point battle-hardened and world-weary—built No Tourists as a pounding, hyperactive assault on the senses, doubling down on everything that made them legends.

The sessions spanned much of 2017 and 2018, with the creative headquarters set at Howlett’s Doghouse Studio in London. Once again, Howlett assumed total control of production, programming, and engineering, crafting a record meant for dark clubs and sweat-soaked festivals. This wasn’t just a greatest hits tour repackaged as an album. Instead, No Tourists is a tightly wound collection, clocking in just shy of forty minutes, determined to keep the pace relentless and the tension high.

Right out of the gate, the album title sets the tone: No Tourists is a record for those who get their hands dirty, not the spectators. The lead track, “Need Some1,” opens with a sampled Loleatta Holloway vocal that’s immediately detonated by Howlett’s blitzkrieg production—a perfect mission statement for what follows. The single “Light Up the Sky” rolls in next, with Maxim and Flint trading fierce verses, and the chorus burning through with an apocalyptic urgency.

“Timebomb Zone” and “Champions of London” are turbocharged rave-rockers, surging forward on snarling synths and Flint’s unmistakable sneer. “Boom Boom Tap” and “Resonate” don’t let the pressure drop, channeling a breakbeat intensity reminiscent of Experience but tempered with years of industrial bite. There’s a real sense here that The Prodigy aren’t just revisiting old tricks—they’re weaponizing their past and hurling it straight into the present.

The album’s latter half is no less explosive. “Give Me a Signal” features Barns Courtney on vocals, adding a raw, bluesy dimension to the Prodigy formula. The title track, “No Tourists,” with its cinematic builds and drops, feels almost like a manifesto—urging listeners to take risks, to refuse the safe route, to get lost in the chaos instead of staying behind the velvet rope. “Fight Fire with Fire,” featuring Ho99o9, throws punk and hardcore into the blender, letting the band’s genre-bending instincts run riot.

Throughout No Tourists, Howlett’s production is razor-sharp, blending vintage rave elements with modern digital grit. There’s hardly a breather—each song launches straight for the jugular, making for a listening experience that’s exhilarating, aggressive, and unapologetically intense. Maxim’s and Flint’s performances are nothing short of electric, their chemistry crackling across every track. Tragically, this would be the last Prodigy album to feature Keith Flint, whose passing in March 2019 would mark the end of an era.

Commercially, No Tourists proved that The Prodigy’s fire hadn’t dimmed. The album debuted at number one on the UK Albums Chart, their seventh consecutive chart-topper, a streak unmatched in their genre. Critics acknowledged the album’s relentless energy, some calling it a homecoming, others pointing out its furious consistency. But above all, fans embraced it as proof that The Prodigy still had the power to shake the foundations of dance music.

No Tourists stands as a testament to the band’s refusal to become a nostalgia act. This is music made for the outsiders, the ravers, the risk-takers—the ones who never wanted the guided tour, but instead demanded to carve their own path through the mayhem. In the end, The Prodigy gave us one more wild ride, refusing to take the easy way out.

CD Track Listings:
“Need Some1” – 4:49
“Light Up the Sky” – 4:19
“We Live Forever” – 3:44
“No Tourists” – 4:12
“Fight Fire with Fire” (featuring Ho99o9) – 4:19
“Timebomb Zone” – 3:25
“Champions of London” – 4:02
“Boom Boom Tap” – 4:03
“Resonate” – 3:52
“Give Me a Signal” (featuring Barns Courtney) – 4:02