"Come Inside" is a song by British pop group Thompson Twins, released in 1991 as the lead single from their eighth studio album Queer. It was written and produced by Alannah Currie and Tom Bailey. The single peaked at #56 in the UK, spending 4 weeks on the chart. The single also peaked at #7 on the US Dance Music/Club Play Singles. The single had a promo video to support it.

The single was supported by various techno inspired singles under the moniker of Feedback Max (in the UK) to disguise the identity of the band to club DJs. The single "Come Inside" reached #7 in the US Dance Chart and #1 in the UK Dance Chart. However, once it was discovered that the Thompson Twins were behind the record, sales dropped and the album Queer never had a UK release.

The song was featured in a 1991 "Beverly Hills 90210" episode.

Aside from the album title Queer, the duo lyrically reclaimed positive sexuality through the "Come Inside" song. Bailey described the song's meaning; "It's about a breakthrough between two people, the act of penetration. But the song is inspired by William Blake's poem "The Doors of Deception," which, as Blake wrote are hard to open wide. It's amazing how people are not willing to open their minds, but are more than ready to open their legs." Bailey also noted that the song's music video included images of doors slamming on "rude people".

In a 1991 KISS FM radio interview with UK Radio Personality, Sonya Frazier, the duo were asked about "Come Inside" and why it was not initially released under the Thompson Twins name. Bailey stated "Well, as Feedback Max, I did a remix with Feedback Max and that was actually put out first on a white label format and it was credited to Feedback Max. Why? Because... I guess, in a way, we were trying to do something underhand; we were trying to slip in unnoticed into the clubs, you know, which is sometimes a fun thing to do - to wear a disguise. So then people are judging the piece of work rather than the reputation of the people who made it. I guess that's the real reason, you know. Cause sometimes people can hold your reputation against you; as we all know, and we wanted to avoid that with this song. And, sort of in a way, it worked, you know. Some people have this prejudice problem, they think "well, oh, if it's them, then I'm not interested in that sort of thing." But when they realized they'd been dancing to it for a couple of weeks already anyway, they sort of had to come to terms with their own prejudice. In the end, we released a version by C&C. They did a remix for us and put the Feedback Max on the other side. It seems to be taking off club-wise really well for us [in the UK and US]."

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