Dear God. Please don’t let 2019 turn into another year like 2016, when celebrities dropped like flies and every time you saw a name trending on Twitter you started fearing the worse.

News has broken in the last hour that The Prodigy’s Keith Flint died this morning at his home in Essex. He was just 49. According to the Prodigy’s Liam Howlett, he had taken his own life.

It would be dishonest to claim that I was a Prodigy fan from the off, because I wasn’t and for much of the first half of the 1990s, I didn’t get much dance music. This was far more to do with me being a moody teenager, seeing boundaries that weren’t there, and nothing to do with the music itself (though the fact that I can’t dance for toffee may be something to do with it). I didn’t care much for these tracks at the time – I now recognise them as representative of much of the great dance music coming out of Britain then.

But The Prodigy – along with many other acts, such as The Orb, Underworld, Orbital, Leftfield and The Chemical Brothers changed my approach, along with the more down-tempo sounds of the likes of Massive Attack, Tricky and Portishead.  When I heard the news, there were so many songs I wanted to hear. Sure, they may have been the hits – but what hits they were.

The year after I left school, they topped the charts with ‘Firestarter,’ a song that blistered visually as much as sonically, with a video that was supposedly too scary to be shown on TV (the following year’s ‘Smack My Bitch Up’ would put it into some kind of perspective, along with Aphex Twin’s ‘Come To Daddy’ video).

This was followed by the even-more exciting ‘Breathe’ which mixed Joy Division bass-lines, punk energy, seemingly several different styles of dance music (I was learning by now) and Keith Flint and Maxim leading this brilliant monster out of our stereos. Perhaps like Massive Attack, they were a British band who managed to combine so many different styles to produce something that was reflective of where Britain’s many tribes were coming from and how they had come together.

Frustratingly, the only time I saw them live was at Glastonbury in 1997. Keith was on fine form, even if the electrics gave out after the second song, and Dennis Pennis had to keep things going by singing to the crowd in Hebrew (no, really). I headed off to China a couple of days later, but not before I picked up a copy of Fat Of the Land, their third album, released the Monday after Glastonbury. Perhaps I drifted apart from The Prodigy after this period – I didn’t much care for the ‘Baby’s Got A Temper’ single in 2002 or the Always Outnumbered Never Outgunned album from 2004 (which didn’t feature Keith), but my interest was reignited with 2009’s Invaders Must Die album and listening to two of the singles from this album again, they deserve to be shared. What also struck me as interesting – I was teaching by this time – was how many of the kids I taught loved The Prodigy, too.

I never met Keith Flint, but according to those he was a lovely guy, and always very appreciative of the crew who worked with The Prodigy. His death, seemingly from suicide, is heartbreakingly sad, but he leaves behind some utterly awesome music.