2026.04.25 – Wembley OVO Arena, London, England

Date: 25th April 2026
Event: The Prodigy Concert
Venue: Wembley OVO Arena
City: London
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. Thunder (Dub)
9. No Good (Start The Dance)
10. The Day Is My Enemy
11. Inaveders Must Die
12. Roadblox
13. Get Your Fight On
14. Weather Experience
15. Their Law
16. Smack My Bitch Up
Encore:
17. Breathe
18. Take Me To The Hospital
19. Ruff In The Jungle Bizness
20. Diesel Power
21. We Live Forever
22. Out Of Space
23. Comanche

Extra info:
Review by by Rockshot, www.rockshotmagazine.com:
There’s no easing into a Prodigy show in 2026—no atmospheric intro, no gentle escalation. The lights drop at London’s iconic Wembley Arena and, without ceremony, Omen detonates. The effect is immediate and physical. Bass surges through the floor, the crowd lurches forward, and within seconds the arena stops behaving like a seated venue and starts acting like a pressure cooker.
This is the defining trait of The Prodigy live right now: total commitment from the first beat. There’s no pacing strategy in the traditional sense—just a carefully engineered barrage that somehow sustains itself for nearly two hours without collapse.
Maxim stalks the stage from the outset, a restless, magnetic presence. He doesn’t so much address the audience as command it, barking into the void and getting instant obedience in return. Behind him, Liam Howlett remains the architect, buried in banks of gear but unmistakably in control of every seismic shift in the set. The absence of Keith Flint is still felt, but it’s not treated as a void to be filled. Instead, it lingers as part of the atmosphere—most powerfully when Firestarter emerges from a snarling hybrid of Claustrophobic Sting. The track hits harder for its restraint, its menace sharpened rather than softened.
There’s barely time to process any of it before Voodoo People and Poison arrive back-to-back, the kind of sequence that turns the standing floor into a single, heaving organism. The crowd doesn’t dance so much as collide—arms, shoulders, bodies all moving in jagged unison. Every drop lands like an impact event.
Midway through, the band pivot into a fluid medley—Climbatize bleeding into Warrior’s Dance and then into Everybody In The Place. It feels less like a setlist choice and more like a DJ tearing through eras of their own catalogue, collapsing decades into minutes. The transitions are seamless, almost disorienting, and they underline something crucial: this isn’t nostalgia, it’s continuity. The old tracks don’t feel preserved—they feel reactivated.
Visually, the show is overwhelming without ever feeling overproduced. Sheets of laser light carve the arena into fragments, strobes hit in violent bursts, and smoke hangs thick enough to catch every beam. During Light Up The Sky, the entire room seems to pulse in sync with the lighting rig, while Thunder turns that pulse into something closer to a shockwave.
The central run of No Good (Start The Dance), The Day Is My Enemy, and Invaders Must Die is where the band’s identity locks fully into place. Punk aggression, rave euphoria, big beat maximalism—it all collides here, and it still feels uniquely theirs. There’s a sense that, even now, no one else quite replicates this combination of brutality and release.
Deeper into the set, tracks like Roadblox and Get Your Fight On keep the intensity high, while Weather Experience offers a brief, hypnotic drift—though even that feels tense, like the calm inside a storm rather than a break from it. By the time Their Law kicks in, the crowd is shouting every word back with something approaching defiance.
The main set closes with Smack My Bitch Up, and it lands exactly as it should: chaotic, euphoric, overwhelming. It doesn’t feel like an ending so much as a rupture.
The first encore arrives quickly, and it’s stacked. Breathe triggers one of the loudest reactions of the night, its opening riff cutting through the noise like a siren. Take Me To The Hospital and Ruff In The Jungle Bizness keep the momentum brutal, while Diesel Power feels like a nod to long-time fans who’ve followed the band across every era. When We Live Forever hits, it carries a strange emotional weight—less about immortality, more about endurance.
Then Out of Space arrives and turns Wembley into a mass chant. It’s one of the few moments where joy overtakes aggression completely—hands in the air, voices unified, the entire arena bouncing in sync.
Just when it feels like the night has reached its natural conclusion, the band return again. No buildup, no announcement—just the opening of Comanche. It’s an unexpected closer, darker and more abrasive, and it lands like a final statement rather than a crowd-pleaser.
And then it’s over. No speeches, no sentimentality. The lights cut, the sound stops, and the crowd is left in the ringing aftermath.
What stands out most about this Wembley show isn’t just the intensity—though that’s undeniable—it’s the refusal to dilute anything. Even in a vast arena, The Prodigy maintain the feeling of something dangerous and immediate, as if the whole thing could tip over the edge at any moment. They aren’t polishing their legacy; they’re stress-testing it, pushing it to its limits night after night.
In the present tense, in this room, it works.

Review by Kahmel Farahani, www.metaltalk.net:
Keyboardist Liam Howlett and frontman Maxim are flying high off the back of a massive 2025, which saw the band headline festivals across the world from Summersonic in Japan to Coachella in the US and even a massive, era-defining headline performance back in the UK at Glastonbury.
As the lights go down and the band launch into pulsing club industrial anthem Omen, the dance pit turns into a combination of rave and mosh pit, with everyone surging forward and bouncing along to the beat.
As the Prodigy close in on their 36th year, the energy levels on stage have not diminished in the slightest. It is actually astounding to watch Maxim walk his way into the crowd singing all the while, before climbing back up and bouncing across stage like the Duracell Bunny.
Keyboardist Liam Howlett and front man Maxim are themselves approaching 60 but their audience seems to be getting younger if anything. Tonight’s crowd is genuinely all ages and mix of everything from old time ravers to punk rockers.
It is also impressive to see how far and deep The Prodigy’s music is resonating in 2026. The heavy-hitting floor fillers Invaders Must Die sends the standing crowd into total pandemonium, and it is followed by synth-heavy raver Roadblox.
Honouring the memory of the late Keith Flint, whose spirit is still very much felt live on stage, the band perform a medley of Claustrophobic Sting and Firestarter. Flint’s iconic spiky mohawk is silhouetted on the screen by lasers. It’s a worthy tribute to a much-missed frontman.
The encore begins with Breathe. This is the ultimate combo of dance, rave, goth and industrial packed into sub three minutes. With lasers pouring over the crowd and everyone jumping, it feels like falling backwards into The Matrix film. It is followed by the robotic hypno acid of Take Me To The Hospital.
“Taking it way back for all my old school ravers here,” says Maxim before launching into the next song, “Gen Z don’t know this shit!”
Performing Ruff In The Jungle Style live for the first time since 1993 is a surprise treat for the veterans here, and it gives the younger fans an idea of the impact that The Prodigy had on the rave scene and club music as a whole. It is followed by the old school hip hop of Diesel Power.
The band return to the stage for their second and final encore to rip through the aggressive stop-start of Comanche. This is the perfect end to a tremendous show.

Poster: