2026.04.16 – Co-op Live, Manchester, England

Date: 16th April 2026
Event: The Prodigy Concert
Venue: Co-op
City: Manchester
Country: England
Support: Carl Cox

Tracklist:
1. Omen
2. Voodoo People
3. Poison
4. Climbatize Link
5. Everybody In The Place
6. Light Up The Sky
7. Claustrophobic Sting / Firestarter
8. Roadblox
9. The Day Is My Enemy
10. No Good (Start The Dance)
11. Inaveders Must Die
12. Thunder (Dub)
13. Get Your Fight On
14. Their Law
15. Smack My Bitch Up
Encore:
16. Breathe
17. Take Me To The Hospital
18. Diesel Power
19. We Live Forever
20. Out Of Space

Extra info:
Review by Ryan Walker, www.louderthanwar.com:
Prior to the band’s massive outdoor string of shows as part of their Warriors Dance tour in August, The Prodigy show Manchester that they are a unit interested in erecting fortresses of noise as well as encouraging their eventual toppling. With the Prodigy, all are physically interlocked in a pact of collaborative battle. By Ryan-Lewis Walker.
There was once a book in a secondary school library. The school would’ve probably binned it if they knew what profound images it contained. One was an image of Richey Edwards with 4REAL carved into his arm. The other was Keith Flint in prime firestarter mode. Twinned fins of green shooting from his head like reptilian barbs. Pitch black eyes melting from their sockets. Mouth open wide and a pierced tongue protruded from it to the extent it looked as if I kept on gazing into the image the tongue might wrap itself around my neck and I accidentally might summon him from the pages. That I might recite something unholy and conjure him up from the 90s. Have him burn me out from the barren wasteland of Bolton and into somewhere more demonic, sexy, and exciting.
Of course. We don’t have that anymore. We have something else. Two-thirds of the band- Liam Howlett and Maxim continue to perform live. And although there hasn’t been any new music since Flint’s passing in 2019. The Prodigy is far from a simple, speedy trip down the nostalgic passages of memory, nor is it a tribute to Flint. The Prodigy live is its own thing. The essence of what they do will always be ready to fire, before aiming, then ask questions later. A movement entirely conducive to the moment that births it.
In this case, the thing is an all-consuming battlefield of hard beats, anthemic choruses and classic synth lines. That is the essence. The punk mentality. The rave spirit. The kind of reaction classic synth lines get that rock groups are often attributed to wanking out when a guitar line that has remained just as strong as its inception, one that has failed to be weathered by whatever time may throw against it (war, fascism, disease).
It goes to show that in the likes of the ominous, tank-toppling Omen, the instrumental Firestarter (Maxim remains silent, in a state of salute on the drum riser, as Flint briefly flickers back from the underworld to raise hell), the delirious propulsion of No Good (Start The Dance) and the arena-eating Everybody In The Place (one of a medley with Climbatize and Warrior’s Dance, a fantastic set highlight that reinforces the live, even experimental nature of what they do: the silence in between the songs stretched and hissing with dirt chamber chug and industrial drone, the melting and reshaping of the tunes that feeds of both crowds and members alike, is also interesting) remains a radioactive acid siren for the masses to throw themselves into states of frenzy with as a gang of sharks would tease a circle of struggling seals.
Moreover, the set itself snatches from a spectrum of the band’s work. It doesn’t just draw on, say, Experience (Out of Space), nor Jilted Generation (Voodoo People, Poison, which bites just as hard because of how slow it roams), or Fat of the Land (Smack My Bitch Up, Breathe). The band, like all good bands that have made it this far on their own terms, refuse to just play the predictable. They know an opportunity to attack with an anthem when they see it. They also know when to fuck with the formula, deconstruct their weapons live, and force them to shoot a little differently.
With the Prodigy, there’s a distinction between violence and deliberately plugging yourself into the vital mainlines of the spectacle. A spectacle that sucks on the high-voltage cables as though it was a tough thread of strawberry lace. A spectacle that sizzles and shimmers and shakes floors to dirt at specific dates and points in time. This isn’t violence (despite the whirling circles of topless frat lads that genuinely look like they have been told we are under siege due to a zombie apocalypse due to complaints about how expensive the place is). This is a rallying cry from a band that refuses to run. That refuses to come up for air. The Prodigy bring the unstoppable onslaught of rain and thunder, but the hold-your-breath second-long line of silence that punctuates it when a bridge is driven under. Anticipating the noise about to happen when the hammer finds you.
Yet, with no new songs in the set (although material from later-day albums such as seductive The Day Is My Enemy and Roadblox from 2015, or Light Up The Sky and We Live Forever from 2018’s No Tourists, plus a Sleaford Mods remix of Elitist G.O.A.T was recently announced), the legacy of the band, although unable to be dislodged, must continue to move, as the band always has.
A band that embodies the shattering of a brick wall between all ages (yet feel free to run at it to see how many bricks can be beaten out of it) The Prodigy represents the inner warriors waiting for an opportunity to dissent, an infectious sense of voodoo humming below the surface, the motherfuckers, to manifest in everyone. In an age of both omnisciently secreted subliminal obedience and overt, tyrannical sadomasochism, their message is one of resistance, not violence.

Review by Michael Bond, www.allmusicmagazine.co.uk:
The air outside Co-op Live is already thick with anticipation long before doors open. By the time the lights dip inside, the crowd is restless in that very particular way that only The Prodigy’s show brings, with a bubbling contained chaos that feels like a pressure cooker about to blow.
Carl Cox takes control of the room early tonight, delivering a two-hour DJ set that feels less like a warm-up and more like a statement. He leans into rolling techno and acid-tinged house, gradually building intensity track by track, rather than going straight for impact. The sound system at Co-op Live is really flexing its muscles as basslines throb cleanly through the cavernous space. Cox reads the crowd perfectly as ever, nudging the tempo upwards, layering in familiar motifs without ever slipping into predictability.
By the end of his set, the audience is locked in, with bodies moving instinctively as everyone in the building is primed for what’s coming next.
When the lights finally drop again, there’s no gentle easing into things. The Prodigy erupt onto the stage with “Omen”, and immediately the entire arena transforms into a surging mass. It’s relentless from the first beat on, no introduction, no buildup, just pure, raw impact. The sound is punishingly loud but razor sharp, as every kick drum lands like a physical force felt through your entire body, alongside Maxim’s guttural screams.
Maxim commands the stage with absolute authority. Moving like a coiled spring, he stalks from one side of the stage to the other, shouting commands and hyping the crowd, as he feeds off their energy and returns it tenfold. He isn’t just a frontman; he’s a conductor of chaos, with every gesture and every shout timed perfectly to whip the pulsing crowd into a frenzy.
“Voodoo People (Pendulum Remix)” follows, and the tempo spikes. The remix injects a drum and bass urgency, delivered by Rob Holliday (guitar/bass) and Leo Crabtree (drums), that pushes the crowd into overdrive. The floor becomes a sea of movement, as mosh pits start opening and collapsing, filled with hands in the air and bodies colliding. There’s a sense that control has already been lost, and the band thrive off this. As they start to tighten the screw, Maxim gets into the pit and begins prowling back and forth, before standing on the pit wall face to face with the front row of the crowd.
“Poison” is next, as it lands with that unmistakable gritty and sinister baseline. It’s a reminder of the group’s lasting longevity, these tracks aren’t just nostalgia pieces, they still hit with the same force they always have. That’s largely down to Liam Howlett, standing behind a mountain of kit, orchestrating everything with quiet precision. While Maxim is the visible chaos, Howlett is the architect, the genius pulling the strings, layering sounds, triggering drops and ensuring every transition feels explosive, while keeping these tracks fresh but still paying tribute to the music’s origins.
A brief medley of “Climbatize, “Everybody in the Place” and “Warrior’s Dance” offers a momentary shift, but even here, the energy doesn’t dip. It’s not a breather, it’s a recalibration. The lighting rig pulses in sync, strobes slicing through the darkness as visuals flicker across massive screens. The production is immense but it’s only there to serve and amplify the music.
“Light Up the Sky” pushes things further, its pounding rhythm turning the arena into something closer to a rave than a traditional concert. That’s always been The Prodigy’s strength, blurring those lines, mixing genres and bringing you inside it.
Then comes “Firestarter”, introduced with a claustrophobic, tension-building sting that sends a ripple through the crowd, before the main riff detonates as the place erupts with one of the biggest reactions of the night, as a Lazor burns a silhouette of Kieth Flint into the onstage screens as Maxim stands centre stage completely motionless. Voices scream every word, fists punch the air, and for a moment, it feels like the entire building is moving as one organism. “Roadblox” keeps the momentum high, with its aggressive edge fitting perfectly into the set’s relentless pace. There’s no downtime between tracks as everything bleeds into the next, maintaining a constant forward drive. It’s intense and exhausting, in the best possible way.
“The Day Is My Enemy”, bolstered by live military drummers, adds a tribal intensity. The extra percussion thickens the sound, making it even more visceral. You can feel it in your chest and in your bones. This is where the live aspect really separates the show from simply listening to recordings, it’s brutal, physical, immersive, and amazing all at the same time.
“No Good (Start the Dance)” is exactly that, an instruction the crowd are fully onboard with. If there was any energy left unspent, it’s unleashed here. The floor is chaos, but it’s a shared chaos, with everyone locked into the same rhythm. “Invaders Must Die” arrives like an anthem, its chant-along chorus echoing around the arena. Maxim leans into the crowd, urging them louder, bigger, more. He never lets the intensity drop, constantly pushing, demanding more and driving the 23,000 packed in crowd, deeper into his world.
“Get Your Fight On” and “Their Law” continue the assault, the latter bringing a particularly fierce reaction. There’s a rawness to it, a rebellious energy that still resonates. Decades on, it doesn’t feel dated and its defiance is still relevant now, as ever. “Smack My Bitch Up” closes the main set brutally. The build is drawn out just enough to create tension before the drop hits, and when it does, it’s seismic. The lights, the bass, the crowd, everything peaks at once, into something almost atomic.
After a brief pause, although “pause” feels like the wrong word, as the crowd never really stops, the encore begins. “Breathe” kicks things off again, instantly reigniting the room. It’s followed by “Take Me to the Hospital”, which maintains that same ferocious pace. “Diesel Power” brings a groove-heavy shift, giving the set a slightly different texture without losing momentum. It’s a reminder of the group’s range and versatility, showing not everything is pure aggression; there’s swing, funk, and attitude woven in too.
“We Live Forever” feels almost celebratory, a moment of unity between the band and audience. It’s less about chaos and more about connection, though the intensity never truly fades. Finally, “Out of Space” closes the night, with its iconic hook sending the crowd into one last collective eruption. It’s the perfect ending, euphoric, nostalgic, and still incredibly powerful.
What stands out most about this show isn’t just the setlist, although it’s expertly constructed, but the sheer, unrelenting energy. There’s no filler, no lull, no moment where things drift. It’s a constant surge from start to finish.
Maxim proves himself, yet again as an exceptional frontman, carrying the show with charisma and ferocity. He doesn’t just perform; he engages, provokes, commands and demands all at the same time. Meanwhile, Liam Howlett’s presence is understated but equally vital. His genius lies in the architecture of the sound, the way tracks are built, layered, and delivered live with such precision, force and defiant punk energy.
Together, they create something that feels bigger than the sum of its parts. It’s not just a concert; it’s an experience, intense, immersive, and unapologetically loud.
By the time the final notes fade, the crowd is exhausted, drenched, and euphoric. Co-op Live has hosted plenty of big shows but tonight feels different. Tonight feels like controlled chaos at its absolute peak, and The Prodigy remain masters of it.
To carry that same explosive energy into the summer, The Prodigy are taking things outdoors with Prodigy Present: Warriors Dance, a run of four huge open-air shows across the UK and Ireland in August 2026. Featuring an incredible lineup including Carl Cox, Andy C, Yōsuke Yukimatsu, David Rodigan and Scarlxrd, these events promise to be full-scale rave experiences rather than traditional gigs. The dates include Dublin (Aug 20), Milton Keynes (Aug 22), Edinburgh (Aug 29) and Manchester (Aug 30), bringing that same relentless, high-voltage chaos to massive outdoor settings. If tonight proved anything, it’s that The Prodigy are still unmatched in their field—and Warriors Dance looks set to amplify that intensity to an entirely new level.

Review by Megan FitzGerald: www.musicistoblame.co.uk:
After headlining the Other Stage at Glastonbury last year, The Prodigy have embarked on their ten-date 2026 UK and Ireland tour – and on Thursday 16th April it was Manchester’s turn to host the rave giants. Wielding giant laser guns, squirming tentacles and live marching drummers, the Co-op Live was treated to a non-stop frenzy of The Prodigy at their finest, proving that even after 30 years, there’s a reason why they’re still at the top of the game. But if you missed them, don’t worry: they’re returning this summer to Wythenshawe Park to host their own Warriors Dance Festival.
It’s no secret that The Prodigy go hard. A show of theirs promises to be an assault on the senses. From their formation in the 90s, the group have presented themselves as explorers of the dystopian: their identity is that of a societal outsider, a voice for the unconventional. They are jarring, cathartic, a site for rage and release. Given the political state of the world currently, it would make sense that their themes of power and rebellion are striking chords with a ‘jilted generation’ more than ever. Rave escapism, especially now, is hugely appealing. This perhaps explained the tangible electrical charge in the crowd at the Co-op Live… and the support hadn’t even started yet.
The support – somewhat unbelievably – came in the form of none other than house and techno legend Carl Cox, whose career has spanned over four decades and seen him dominate the club scenes in the UK, Ibiza and beyond. Fans are at the barrier from the moment the doors open, and it’s worth the sprint: for two hours, Cox plays an impeccable 3-deck vinyl set of “old school bangers only, Manchester!”, as he yells to the crowd. The people roar back – it’s pure euphoria, with Cox delving into his record collection behind him to keep the mix going. It’s a breath of fresh air and a pleasure to watch a master going back to the roots of DJing. It’s genuinely a shame when it comes to an end.
However, then it’s time for The Prodigy, who appear to huge cheers.
Without letting the crowd catch a breath, the night begins immediately with ‘Omen’, and things go feral. Mosh pits lurch and pint cups soar overhead. Strobe lights explode. For the next hour and a half the group pelts us relentlessly with a medley of their biggest hits from across their seven UK Number One albums.
MC Maxim strides around the stage, dominating the space with an ethereal, otherworldly presence, barking his lyrics across the thrashing bass. Founding member Liam Howlett is tucked further backstage surrounded by synths, and joining the tour is Rob Holliday on lead guitar and Leo Crabtree on drums. All performers, it has to be said, are nothing short of spectacular: for the entire 90 minutes, their energy is through the roof.
‘Voodoo’ and ‘Poison’ follow in a similarly riotous fashion,
led by Maxim, but ‘Firestarter’ is the only song for which he isn’t storming the stage. He stands motionless, hands clasped, allowing late member Keith Flint’s voice to be carried across the arena for the song that propelled them from underground stars to global legends. It’s a small but powerful moment, and well recognised by the crowd who shriek the lyrics to one of the group’s most iconic tunes.
As the night progresses, it becomes clear it’s not just the Prodigy’s sound that is wowing fans. The visual aspect and staging of the performance is also truly incredible. The stage at the Co-op Live is turned into a dishevelled industrial den with ominous rags looming from the rafters. The set shifts and transforms: panels rise dramatically to reveal enormous, illuminated laser guns that fire light at the crowd (“What the f**k!!” I hear someone shriek), black-clad drummers march onstage during ‘The Day is My Enemy’ and animated skeletons battle each other before a fiery backdrop for ‘Get Your Fight On’. Tentacles writhe on screens before being replaced with blaring sirens. It’s absolute carnage and a visual explosion.
‘Smack My B*tch Up’ is another moment at which the roof seems to lift from the Co-op Live’s hinges. “Change my pitch up! / Smack my b*tch up!” is screamed from every corner of the space, before the group retreat backstage for a brief moment of respite. The encore sees them perform favourites ‘Breathe’ and ‘Diesel Power’, before finishing with a cacophonic rendition of ‘Out of Space’, with the lighting rig seemingly having every button pressed at once for the grand finale. It’s the perfect end to a spellbinding show, and the Manchester crowd lose their minds for the last time.
But it doesn’t stop for The Prodigy, not even after this tour. This summer they are re-igniting their own Warrior’s Dance Festival, with day events taking place in Dublin, Milton Keynes, Edinburgh and Manchester. Described as “four nights of pure ruckus”, they are joined by a hefty lineup of performers including Carl Cox, Andy C, Yousuke Yukimatsu, David Rodigan and SCARLXRD. If their performance at the Co-op Live is anything to go by, it’s going to be total, glorious carnage.

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