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The Prodigy’s Liam Howlett on playing Coachella after Keith Flint’s death — “It was like jumping off a building”

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In 2002, when The Prodigy made their debut at Coachella, they were considered rebels. Their 1997 album “The Fat of The Land” had dominated U.S. charts and marked the rise of underground rave culture to mainstream popularity, which eventually evolved into the Electronic Dance Music (EDM) trend that we see today. They were regulars on MTV, with videos like “Breathe” and “Firestarter” being particularly popular. In these videos, their lead singer/dancer Keith Flint could often be found prowling around an abandoned subway tunnel, sporting dual mohawks, heavy kohl eyeliner, and an American flag sweater while giving a defiant stare.

Speaking about their first performance at Coachella, Liam Howlett, the founder of The Prodigy, described it as a “true British takeover.” He noted that the festival had a distinctly different atmosphere back then, explaining it as “fairly casual and unrestricted.

23 years have passed, yet there’s a renewed longing for that time, characterized by dance music that was infused with tech-fueled freedom and creativity. At clubs today, people yearn to relive the magic of those timeless hits.

Fans who are fans of the band since its early days and those who have recently rediscovered it will get to see them (now just Maxim, the singer-dancer, along with other touring musicians) this Friday at 10:05 p.m., in the Mojave tent. Howlett talked to The Times about overcoming the death of Flint at age 49 in 2019, Gen Z’s desire for a different era of raving, and whether artificial intelligence could be useful for today’s ravers.

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It feels liberating to perform at major events again following Keith Flint’s passing. Does being on stage without him stir strong emotions for you?

Following Keith’s death, we were at a loss for what to do next. We didn’t discuss anything for years on end. Eventually, we started spending time together casually, and one of us suggested, “I think I’m ready to give it a try.” We began talking about performances again – Should we attempt this? Is it possible? In the end, we came to the same decision: The only way to know for sure was to book some small-scale gigs. This seemed to provide the answers we sought.

Wow, it was incredibly intense! I’ve rarely experienced such deep emotions because the crowd was completely in our favor. It felt as if we were about to leap from a skyscraper. We had no idea what was going to unfold next. That’s why we had to go through with it. I’ll always remember that sensation, as if the crowd provided us with the guidance we needed to persevere.

While it’s true that we won’t be presenting a Keith tribute show per se, our intention is to honor him in every way we can. You see, Keith was much more than just a performer; he was an integral part of the studio team, serving as a right-hand man. His spirit continues to inspire me as I compose new music, which tells me we still have so much to offer. Only when I feel I’ve given all that I can will I consider stopping.

Is there a strong desire among today’s youth for the classic vibe of old-school raves? That’s why Charli XCX is singing about craving those club anthems. As someone who was part of that era, what do you think it is that young people are longing for now?

The night seems to summon these youngsters. There’s always a beat of electronic music around. I believe this is due to the fact that pop producers frequently incorporate electronic music when creating pop records. We position ourselves on the more intense side of electronic music, and we maintain our purity in what we create, even though it can appear jumbled. Our style is a blend of contrasting British cultural influences and American hip-hop, but it’s electronic music that has always held significance, particularly in Europe and England.

In my youth, I found myself incredibly fortunate as I was immersed in three significant cultural shifts. Unfortunately, punk happened before I could appreciate it, but two-tone ska truly resonated with me. Later on, hip-hop and rave culture captivated me as well. I long for my child to encounter something akin to those dynamic periods of change. Currently, he seems deprived in that regard, and I believe the root cause is social media. Traditionally, cultures would develop under the radar, given time to flourish, but with social media, they’re instantly exposed to the public eye, leaving little room for growth or longevity. This, I suspect, is why contemporary cultures don’t seem as enduring as those of the past.

Plus, you kind of need to experience it in the right physical setting, and not just on your phone.

Experiencing music at raves in London and across the U.K., we found ourselves near sound systems so powerful they made your entire body vibrate. To truly understand the impact of different frequencies on people, you should immerse yourself in this experience as well – not just by watching videos on your phone. If you haven’t felt the rumble of sub-bass, you haven’t fully experienced how sound can affect us. I was fortunate to have this sensation instilled in me from a young age.

Is it possible for artificial intelligence to play a role in today’s club music scene, given that dance music has been adaptive to technology yet the Prodigy’s music was always quite DIY-oriented? Or might incorporating AI be seen as counter to the artistic essence of this genre?

I’m drawn to all sorts of technology, yet I worry that over-reliance on such tools could strip us of our creative spark. Instead of viewing it as a threat, I believe an artist could benefit from using AI in their studio, perhaps to illuminate new ideas or help unlock creativity. However, we should avoid allowing AI to replace human creativity when it comes to producing work. I’m curious about the advantages of this technology, particularly its potential to enrich education.

Music

The much-anticipated Coachella festival is set for April 11th-13th, as well as April 18th-20th. Our team is thrilled at the prospect of witnessing these acts live in Indio!

In more recent terms, your latest album was released back in 2018; however, fresh tunes are on their way. Given how rapidly dance music is advancing in today’s world, one might wonder if monumental albums like “The Fat of the Land” could still be feasible now?

From a movie buff’s perspective: In this unusual scenario, I find myself needing to approach my creative process from various angles. The writing part has been taking longer than usual due to these unprecedented times. Regarding new music, I’m still figuring out whether it will materialize as an album or something else, because we aim for swift releases. An album feels too lengthy given our current goals. So, we’re brainstorming alternative methods to ensure the music reaches you sooner rather than later. Once a tune is polished, I can’t wait to share it with everyone!

It’s evident that the world continually evolves, presenting various methods for distributing music. This topic intrigues me because the gap between completing a song and its release is often too prolonged for my liking. However, I never rush releases until they meet a particular level of quality. My son’s band uploads their work immediately, which occasionally leaves me envious. Our goal is to strike the right balance in this regard.

Does your old music resonate with him?

He’s part of a band that plays the guitar, and everything they do is acoustic rather than electronic. He’s made this decision intentionally because he feels outmatched by his father. [Laughs] I find it challenging for contemporary guitar bands, but he’s quite talented. Reminds me of our past, it’s amusing to witness it all anew through my son’s perspective.

As a movie buff, I’ve always marveled at the unique spirit of bands like The Prodigy, which skyrocketed to fame amidst the cultural landscape. In our current digital age, where everything is just a click away and quickly consumed online, it’s challenging to maintain that raw, subcultural sensibility. So, how do we preserve this essence in today’s fast-paced, digital world?

Since my early years, I’ve had a penchant for music that wasn’t typically pleasant. Instead, it was often peculiar, tinged with a hint of anger, sporting an edge or depth. We aren’t a political band, but we are a band for the masses, we are an escapist group. I returned to a modest studio – essentially like a bedroom. Here, I can handle everything, from recording to mixing. The sound of my latest record is superior to my previous one, which was mixed in a large studio. I’ve gone back to doing things myself. Having too much equipment can be burdensome, and with limited equipment, my mind must find creative solutions.

In this space, it’s cluttered with numerous odd gadgets scattered about. I’m not someone who enjoys gazing at a computer monitor for extended periods. Instead, I turn the computer on like a tape recorder, hit record, play for an hour, then pause to listen to what was captured. There’s something magical that unfolds when you play it loud through a genuine sound system.

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2025-04-10 22:01

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