By Andre Paras
Staff Writer
From being a substitute teacher to recently collaborating with Charli XCX and Billie Eilish on “Guess,” Harrison Patrick Smith, or The Dare, has come a long way in the scene these past few years.
Released in 2022, “Girls,” the debut single for The Dare’s latest record, got the New York City Freakquencies DJ a jump start into the scene, becoming a catalyst and poster child of the new indie sleaze and electroclash movement.
The Dare’s sound is heavily reminiscent of bands such as LCD Soundsystem, Yeah Yeah Yeahs and The Strokes, originating in New York City in the early 2000s. While it may not show in its stream count, “Girls” has caught the attention of many in the industry and artists alike to collaborate, ascending him into the scene.
This record unapologetically wears all of its influences of the subgenre on its sleeve, from the New York-themed album title, the signature white button shirt and black tie combo on its artwork, and of course, through the music. A lot of The Dare’s criticism online stems from the idea of his work being too similar to the artists mentioned prior, but I think it’s safe to say this record and other works this year have proved otherwise.
“Open Up” is a nice tone-setter, imploring you to get out and feel the music how it was meant to be experienced, on a sweaty neon dance floor. It’s a record that demands loud speakers and a wild party surrounding it as Smith shouts instructions toward the audience like a tour guide to the New York City nightlife: “Just take my hand, I’ll take away the pain / Gonna grab the third rail on a subway train.”
Other singles like “Good Time” and “Perfume” showcase this upfront and direct delivery that’s all part of The Dare’s brand. The track is full of desire and emotion as he navigates “Good Time’s” catchy hooks, saying, “Touch me, then say you need me.” “Perfume” is a shouty and proudly flamboyant track that sounds straight out of a stylized Dior ad.
The breakdown at the end of “I Destroyed Disco” feels very much inspired by the PC music subgenre of the new generation, something Smith could branch out with more to make his indie sleaze sound feel less familiar and more unique.
Another thing worth noting is the tracklist and individual tracks. This LP contains 10 tracks, clocking in at 27 minutes long, with the singles all around just two minutes. Keeping it concise, Smith has made the subgenre accessible to the TikTok-aged Gen-Z.
Without feeling manufactured, there have been great moments Smith has picked for 15-second snippets to advertise these songs with shorts prior to the release. “All Night” is a great example, a song Smith has been teasing for the past month with an earworm chant of a hook: “LA to New York, New York to LA / I want more than fame, hope you feel the same / All night…”
Every great party eventually comes to an end though, and with the last three tracks, Smith is unafraid of getting vulnerable and showcasing his post-party melancholia, with that same energy he got the audience hyped up with. “Elevation” takes on his drug craving and yearning for someone from a party. This continues into “Movement” and his dissatisfaction chasing this high with his exhausting lifestyle.
Finally, the last track “You Can Never Go Home” gets pretty meta, cheekily addressing the criticism mentioned prior: “Yeah, sometimes I steal what others wrote.” Arguably, it serves as the album’s thesis. It’s a fun, yet self-deprecating acceptance of his nightlife, feeling like an imprisoning residency.
With all of this jam-packed into less than a half hour, Smith answers the question he begs with its title, but it doesn’t sound like he’s willing to give any of it up — especially now. Whether he only keeps it up for the brand image of The Dare or not, it’ll be interesting to see where he goes from this and how he’ll keep things refreshing, reviving a sound that thrived, died and came back all within the last 20 years.
