YOU may have thought that The Prodigy would have mellowed with age, that the millions of album sales, mansions and success in general would have dulled their anger.

But you'd be wrong.

Twenty five years and six albums on the five-piece remain as potent as ever as they pummel the Bournemouth International Centre into submission with an intense hour-and-a-half long set.

Having released latest album The Day Is My Enemy two months ago, the band are warming up for a joint headline slot with Black Keys at the Isle of Wight Festival with a number of dates across the UK.

And it only takes about twenty seconds for them to transform the expectant crowd at the BIC into a seething mass of dancing bodies as they launch into old favourite Breathe.

The pace never really drops from that point, following up with Nasty, which despite being their most recent single sounds like vintage Prodigy.

A strobe-laden Omen, complete with a mass hand clap is followed by Wild Frontier in an intense opening salvo.

Another crowd-pleaser, Firestarter, follows swiftly on with frontman Keith Flint, a manically charismatic figure on stage, bathed in a demonic glow by the superb light display behind the band.

A brief pause doesn’t allow the crowd – most of whom spend the entire show wildly dancing – much breathing space before it merges in Roadblox synth-soaked intro and frenzied beats.

The band maintain an intense level throughout the entire show, with other highlights including the metal inflected new addition The Day Is My Enemy, old favourite Voodoo People and the thudding Invaders Must Die.

Medicine – by parts eerie and thrash metalcore, is followed by one of the band’s signatures, Smack My Bitch Up, which gets the diaphragm wobbling with its hefty bass overload.

Then they are offstage for the briefest of breaks before launching back into a two-song encore that concludes with Take Me To The Hospital.

It’s not a gig for the faint-hearted, with the senses pounded almost relentlessly for 90 minutes, but it’s soaked up gleefully by an enthusiastic crowd and is proof that a quarter of a century after forming they remain nigh on impossible to pigeon hole musically and just as bracing and exhilarating as ever.

James Franklin