As he lazily twirls a bra around his finger and grabs a lighter from the audience for an onstage cig, it is abundantly clear that Charli XCX was right — The Dare is definitely with it.
Fresh from a summer that has made him immediately recognisable, Harrison Patrick Smith lands at Leeds’ Belgrave Music Hall at a moment where the opportunity to see him in a 300-capacity room feels like it will be much rarer here on out. There’s a palpable sense of this in the air: a heightened level of frenzy in a crowd dotted with those emulating The Dare’s signature dark sunglasses and black suit.
“You can call me Harrison, if you want,” he assures in a short-lived breather between songs, and it’s evident that this crowd would call him whatever he asked. ‘Open Up’ sets a relentless, high-octane pace for the evening, only broken by brief interludes for The Dare to drop teasing remarks and check in on his enamoured audience. It’s been an impressive year for the New York artist; cavorting with Charli XCX and co, dropping his debut album What’s Wrong With New York? and doing his utmost to revitalise indie sleaze. This tour feels like a celebration of the campaign: The Dare pulls you into that whirlwind and encourages you to chase that freeing release too.
His cacophonous sound is created to be heard live — the crunching bass is made all the more powerful in this setting, and drawling vocals becoming impossibly more cocky when paired with backlit strobes. Smith approaches each track with such vigour that the sound cuts out twice, returning with yet more energy on both occasions. ‘I Destroyed Disco’ is a highlight, whilst early release ‘Bloodwork’ takes on a new lease of life in a techno-leaning remix intertwining it with ‘Guess’. ‘You’re Invited’ sees the crowd become one jumping mass that is scarcely broken throughout the rest of the evening.
Things slow down for just a moment with ‘Elevation’ – a dark, expansive arc of yearning that is a departure from the rest of the set’s debauchery. That moment of tenderness is welcome though, and offers an insight to the possible scope of The Dare’s artistry moving forwards. It’s a different kind of release, but one which is no less satisfying.
Belgrave Music Hall descends back to chaos for the remainder of the performance, with all roads leading to the one-two punch of ‘All Night’ and ‘Girls’. It’s one final release of energy, and one that is gladly taken by all in attendance. Flitting about the stage with cymbal in hand, The Dare paints an iconic figure, and even as the final notes of his breakout hit play out, there’s no sign of that spell he’s cast lifting anytime soon – The Dare’s magnetism as a performer is felt by all.
