What’s wrong with New York? Skinny sexed-up white men in two pieces, maybe.

If at this point in my tenure at Leeds I was having sex with a man and “Espresso” by Sabrina Carpenter came on shuffle, I think a harbinging shiver would pass through me and then my arsehole would instantaneously clamp shut and dismember him. Guillotine (viva la France). And as feminist(-adjacent) as the imagined image of that may be (see: Lorena Bobbitt), it would be messy and problematic and what if my arsehole, like the head of a snapping turtle or venus flytrap, never opened again? What then? How would I poo? Pressing questions like these keep me up at night, and move me to make use of the omniscient, disembodied voice of Real Journalism to investigate, interrogate, and ultimately protect. Dirty music is important! More so than clean music, in the same way that meal prep is not as important as PrEP pills. It sets you free.

Enter The Dare. Hot on the heels of his 2023 The Sex EP, we have been bestowed with his debut LP What’s Wrong With New York? (2024). Picture an anaemic twink in a trademark suit which says fun.’s “We Are Young” (2012), but hides under all that polyester something darker. Darker, how? Let’s ask the audience:

  1. Darker: as in a loose-belted, more meta iteration of the brash and fleeting electroclash genre that snake-charmed listeners around 2010 before being gobbled up by twee, banjo-thrumming pasture-synth à la Birdy and Foxes, never to be seen again.
  2. Darker: in colour. As in dark eyebags pigmented by the gaunt absence of post-2007 recession optimism and the obliteration of the UED (Universal Electropop Dancefloor) resulting in an irreconcilable polarity between tedious house ballads made too neurotic by the digital panopticon to just dance and camera-ban queer raves beleaguered by happy hardcore, wubby trance, GHB, and fisting. 
  3. Darker: he says if we try to stop him he’s gonna “fuck a hole in the wall”. Everyone hide.

Now what if I told you that the answer (DING!DING!DING!) was all of the above?! Armed with a vicious, breakneck arsenal of bass synths and a similarly breakneck libido, The Dare has managed to weasel his way between some of the alt pop vanguard’s most coveted acts. After landing fan favourite bonus track “Guess” as the only feature on Charli XCX’s party girl magnum opus BRAT (2024), he gave us a distinct and dirty taste of his mixing on July 13th at Charli’s Ibiza Boiler Room, showcasing a jawdropper (literally – see: 1:31:46 of the set on YouTube) of a “Mean Girls” remix to close out the night. Since then, he’s scored interviews with The New York Times  and GQ, a spot in the “Guess” music video next to Billie Eilish, and a horned-up cult of fans ready to indulge in the tongue-in-cheek rockstar-groupie charade that The Dare’s discography shoots through the aux.

His debut fulfils many of the expectations his first EP created. Carnal, club-ready, and cunt, it’s an identity record in every way, sticking to a trademarkable soundscape and hinging on “I” phrasing. Mr. Dare, what do you like? “Tall girls, short girls, girls with dicks, call girls.” Mr. Dare, what do you do? “Write the lyrics, bring the spirit, hear demos, make babies.” His vision is clear, and his vision is one constructed by scavenging off the bones of a Kesha-and-Justice-fueled late 00s dancefloor and building them into a speaker-blowing, slurring, sexy, suit-wearing Frankenproducer custom-made for the zeitgeist of today.

Now, I won’t sit here and hail this album as a groundbreaking ode to sex. It’s impossible to deny that we’re experiencing a erotic pop renaissance, between the likes of brat, The Rise and Fall of a Midwestern Princess (2023), and Short n’ Sweet (2024). I suppose what sticks out about What’s Wrong With New York? is its blatant eagerness to fill a role which has almost diminished into oblivion this decade. The Dare is a fittingly meta resurrection of the obnoxious, prodigal pop maestro that was once called Calvin Harris, or Passion Pit, or Caribou, or MGMT. He has taken the esoteric anonymity of the “man behind the music” that characterised the sweaty electropop producer of the late 00s and early 10s and turned it into a sort of sardonic drag uniform. Generic dark sunglasses and a two-piece suit embrace an emblematic bravado to match the bawdiness of the record, which kicks off with the testing lyric “it’s just rock n’ roll, you won’t die” on “Open Up”. 

From there we fly into a barrage of consistently filthy club bangers such as the pitch-shifted “I Destroyed Disco” and the bouncy, wind-tunnel track “Movement”.  “Elevation”, a standout and a shift in tone, pulls on the atmospheric late-night-wistfulness of the likes of Coldplay whilst staying firmly within the confines of the New York that The Dare paints for us. The LP closes up with the slower but satisfyingly grand “You Can Never Go Home” that ends the album smoothly whilst not alienating itself from standalone listenability. 

This is without doubt a record constructed with substantial direction, a clear target audience, and tactful production. If it falls short, it’s because the listener gets a sense that The Dare is so confident in his (undeniably smart) vision for his brand that he hesitates to step beyond its confines. Such a bawdily creative debut EP alludes to an even more flamboyant and unexpected debut record rollout, and whilst it makes for a comprehensive consolidation of The Dare’s identity as an artist, it fails to renew his reputation as an artistically recalcitrant enfant terrible of the pop scene. If the two tracks taken from The Sex EP were cut from the project and replaced with two riskier choices that fit more uncomfortably with the rest of the tracklist, the album might better uphold the skanky caricature The Dare is building of himself. Despite this, What’s Wrong With New York? constitutes itself as sex-fuelled dance record that finds value in the trifle of at once sounding like an LP that a three-person, suspender-wearing act fresh out of Goldsmith’s would peak at #8 with in 2009, falsely insinuating Mr. Dare is, in fact, a New Yorker, and actually making us move.

So, what is wrong with New York? Who am I to answer? The comparisons are many. Calvin Harris, Caribou, Justice, Joy Division, Gorillaz, LCD Soundsystem, and, if I dare say, even Peaches have bled into Comrade Dare’s work, and the People have not been deaf to this. The sky is falling, Big Brother is watching, the squalid city streets of Twitter have their opinions, and certain individuals who I’m sure are very busy are unhappy with The Dare’s iteration of Inexplicably Prodigal Kooky Sexed-Up Skinny White Man Music. But even if we put aside the fact that every rotation of this trend is leaps and bounds more creative than the bedroom pop epidemic, the trendiness of moxy-heavy Hedon-worshipper lyrics, and the blindingly obvious fact that The Dare’s entire identity as an artist belies a campy revival of “indie sleaze”, What’s Wrong With New York? proves Harrison Smith as a producer with a dab hand for mixing, a finger on the pulse of the culture, and another in… someone, somewhere, I guess. 

Guide to Survive: Leeds Festival 2024

Leeds festival got off to a great start on Friday morning with 70 mph winds and severe storm warnings. With many stellar acts being cancelled, morale was low & hopes were certainly not high. Legend has it the BBC Radio 1 Stage is still floating above the golden Yorkshire moors. But yet, somehow, the sun did shine and the show did go on. The beguiling draw of Catfish and The Bottlemen’s well-awaited return to festivals had the 2017 indie kids beginning to crawl out of their flapping tents, don their bucket hats and drink 8-12 cans of warm beer. Soon enough, the whole arena was full, pasty skin gradually turning pink under the surprising August sunshine, and Leeds Festival managed to turn it around. 

That being said, the worst and possibly shortest set in the festival’s history was performed by 21 Savage, who turned up late and only spent 12 minutes on the stage – to the utter despair of every Nike dri-fit wearing 12 year old. However, Pendulum made for a great watch & really outshone the main stage, as did Corella, an early easy-indie set to start the day. Finally, with flags waving, scarves aloft and Van Mccan took to the stage with his new troupe of nameless band mates. Mccan’s beaming smile and undeniably fantastic energy made for an excellent comeback, with singalong indie anthems and great songs. Ignoring the strange instrumental section mid-set where he viciously licked his guitar and rubbed it up against a speaker for an awkwardly long time. The crowd was nevertheless enraptured. 

The front pit waxed and waned in the wait for Gallagher. This year’s much improved system of a central main stage decreased wait times between artists and made for a better flow of people in and out of the pits. As the sun set, and Liam Gallagher strode out onto stage to the instantly recognisable riff of ‘Rock N Roll Star’, the crowd was ravenous and arms were reaching, straining out to his silhouette up above. A decorative reenactment of Oasis’ debut album cover adorned the stage, and creative lyrical videos and collages throughout the show made the performance feel very slick and headliner-worthy. His infamous attitude punctuated the set, as he quipped about the earlier storm and taunted the crowd with threats to play ‘Wonderwall’. Thankfully he didn’t, and instead led a final cover of The Beatles’ iconic track ‘I Am The Walrus’. 

As day turned to night, the campsites filled and noise of speakers, chattering and cans opening filled the air. As thousands of young campers filled up the Picadilly Party and LS23 stages well into the early hours of the (thankfully calmer) morning. 

Saturday had the glint of a much more packed day, kicking off with Ellur early doors for a wholesome set, Kneecap’s powerful performance and Big Special’s punk rock revelation. The K’s led the main stage with a crowd of arms held aloft. Lambrini Girls and Neck Deep clashed, but both bands brought seemingly endless reserves of energy. Before Jorja Smith graced the sunny Saturday afternoon with gorgeous vocals and all round lovely vibes. Chasing into the evening was a slightly lackluster set from Two Door Cinema Club, which was just about rescued by a much needed rendition of ‘What You Know’ as the sun set. Confidence Man however, did not have the same issue of a bland set, bringing high energy and non-stop boogie. Meanwhile Skrillex led the way on their replacement set which sounded amazing. 

Gerry Cinnamon had the whole field up in arms in his uplifting set, having the crowd swinging, dancing and singing altogether in a set that felt truly special. His songs are perfectly built for a giddy Saturday evening crowd, and the reams of Scots dotted through the crowd made sure each song was received with roars of appreciation. The absolute standout highlight for me was The Prodigy, on the new Chevron stage – which had rows of lights hanging above the crowd and utterly transformed the whole experience of the set. An absolute slammer of a performance was given by Maxim on vocals, with touching commemorative nods to late lead singer Keith Flint. Playing banger after banger to a frenzied crowd that felt possessed, The Prodigy’s set was completely incomparable to anything I’ve ever seen before. 

Sunday was off to a flying start with the smashing Dead Pony, along with a quaking set from Sun King. Welly had entertainment and talent all rolled into one with their sardonic horrible-histories-esque tracks, and excellent crowd involvement. The Last Dinner Party took the main stage by storm earlier than scheduled, causing a marathon sprint for fans to get down to the front for their set, which was nothing short of angelic. Not long after, Bleachers perfectly matched Sunday’s festival needs with an uplifting pop singalong set, at a stark contrast for the building crowd of post-punk Fontaines DC fans that began to swarm the main stage. This was at odds with the hundreds of Lana Del Rey fans camping out, bedecked in bows and American flags. The Irish outfit needed no introduction as they stomped onto stage, green and pink hair standing out against the grey skies, with a set that can only be described as intensely brilliant. Chatten has truly come into himself as a frontman, and has a magnetism that is inexplicable, and it was so refreshing to see Carlos O’Connell and Deego have more of a central role in the performance. As they closed their set with crowd favourites Favourite and I Love You; fans began to sprint over to the BBC Introducing Stage to catch the rearranged set for up-and-coming Wunderhorse. Pulling no less than 7000 people to the smallest stage in the festival, Wunderhorse brought a firecracker of a short performance, with fans clambering on shoulders and belting every word. 

Kid Kapichi rocked through their set on the Festival Republic Stage, and Barry Can’t Swim had an absolutely inspired performance, with an exciting and groovy set, before passing the Chevron onto house giant Sonny Fodera. Over on the main stage, Raye was nothing short of captivating. Pop-perfect vocals and a really slick performance made her such a standout of the day, and a perfect transition into Lana Del Rey. As sunset loomed, and glistening balconies, turrets and fairytale trees were built onto the stage, the Queen of Americana made Leeds Festival into her own arena, completely enrapturing the field. Her beautiful vocals and striking performance made for an excellent Sunday headliner, playing fan favourites and pulling on heartstrings from across her whole discography. Soon after, we headed to catch Viagra Boys, a complete change of pace as the Swedish punk rockers had more crowd surfers in the Festival Republic tent than across the whole festival weekend combined – one of which being their own saxophonist. Headbanging, shoes flying, inflatable beach balls soaring made it a truly unforgettable set. The final headliner arrived in the form of Fred Again, suspended above the crowd on a cherry-picker, with his usual set up of decks and a small camera, before launching into a colossal live performance which involved him switching over onto the stage, fireworks and showstopper lighting sequences. Over on the Chevron, indie cult classic The Wombats played what felt like a greatest hits set for those less techno-minded and had a singing, dancing party to end the weekend. Overmono finally rounded off with a phenomenal set on the LS23 stage, as the weekend’s troopers made their way down the ankle-breaker hill to the woodlands well into the early hours of Monday morning. 

Written and Edited by Millie Cain.

A Freshers’ Guide to Club Nights in Leeds

So, you’ve come to Leeds, you want to avoid club wristband scams or just escape the Leeds locals at all costs, while hoping to do a full week bender – I mean, partying and having fun! Well, Leeds has not failed you; here is a full week of club nights tailored just for the freshers.

Bobby’s Disco – The Warehouse

What else are you doing on a Monday night but dancing to ABBA at Bobby’s? Cheesy disco galore, kick your week off with a wholesome night out at the maze of a venue that is The Warehouse. A random bathtub? Check. 2 toilets in one cubicle? It’s a bit odd but it exists. There’s no better way than to celebrate a night of new friendships than to the soundtrack of upbeat disco anthems.

Dry Dock Karaoke Night – Dry Dock, Tuesdays

Something for those who hate the awkward dancing and sardines atmosphere of clubbing, karaoke at Dry Dock is another cheap, popular alternative that students eat up. More singing does not mean any less dancing however, unless you’re stuck in the queue for 3 hours. There’s plenty of time to warm up and await your turn, and it’s only located across the dual carriageway next to Leeds Beckett, where your dreams of being the next vocal powerhouse lives on for one night only. 

Mischief Wednesdays – The Warehouse

Exclusively reserved for specific LUU society members, you’re lucky to have made the finish line to Mischief if you have been challenged to survive some of those infamous sports society initiations. With its own name echoing the chaotic vibes, Mischief Wednesday hosts the most feral groups and individuals inside one tightly packed industrial building. Special mention to Walkabout as the most dedicated Wednesday night out goers start here for the cheap drinks; just be smart and beat the queue for entry.

Boogaloo Wednesday – Belgrave Music Hall, Wednesday 18th/25th

Last year’s newcomer at Belgrave, the hippy sister of Bobby’s has grown to be a standout night for 70/80/90s dance tunes among the swirling smoke of incense and hanging peace sign decorations. As standard, Belgrave serves as a student friendly venue for the dwellings of your typical arts students in the day, serving the best pizzas on the block. The multi-functional venue is also crowned with a romantic rooftop terrace that’s guaranteed to be filled to the brim every forthcoming Wednesday night. 

Indie Thursdays – O2 Academy Leeds, Thursday 19th/26th

Bring out your high tops, pair them with your knee socks and throw on a leather jacket; if you’re a bit too quirky for pop music, the mystical aura of sweat and dark fruits awaits you. If AM is your bible, then it will become a ritual for you to attend the recurring nights at Indie Thursdays, but don’t be surprised if you end up getting a free membership by the end of first year. Get your dancing shoes ready for a night of well-loved indie bangers. The very first are always in the main arena, so a bit less sweat and slightly larger smoking area.

Full Fat Thursdays – Old Red Bus Station, Thursday 26th

With Thursdays being the most divisive night, the other half of Leeds would argue that a wild and crammed night of house music is far more elite at Old Red. It’s worth mentioning that despite being a musically diverse city, not many nights do grime/drill. So, Full Fat it may be for you with a mixed bag of some rooms being packed and others being more reliably quieter. The best part? You may not need a kebab order after the night has ended; you get free donuts and sweet treats handed out to you upon entry.

Fruity Fridays – LUU Stylus, Friday 27th

If there’s a time you can go Fruity Fridays, it’s once and it’s in Freshers. Haters are just mad that it is the cheapest place to drink for students, so don’t listen to the bad rep of it being too cheesy. A club night best loved by performance and media societies, you even have the luxury of multiple rooms or themed nights throughout the year, right in the safety and heart of campus. Armed with floating fruit decorations, it’s a night every Leeds student has some interesting story to take away from. 

Quickfire Mentions: 

  • Any event at Beaver Works – Special occasions call for the one-off spectacles here. Whether it’s the Better Days all-day festival or Halloween Cirque du Soul specials, the distance is far enough from the city centre that what happens at Beaver Works stays there in that club’s fairground…
  • Projekt, O2 Academy Leeds – Saturday nights may seem like they lack student events, but that’s probably because you’re not a house fan. There’s always the entertaining smoking area if it’s not for you and your mates are dragging you there.
  • Any event at Space or Carousel – No Pryzm? No problem. This is where the contents of it spills every Friday/Saturday night as a replacement. Best route to follow after some pre-drinks in Hedley Verity, commonly nicknamed as ‘Disco Spoons’ for the almost sci-fi explosion of a dancefloor that appears when the staff just move the high chairs out of the way and a makeshift DJ booth is launched in the middle of a family-friendly Wetherspoons.
  • The Key Club to The Stone Roses pipeline – Some may say it’s the most adventurous trip of their short lifetimes, others have nowhere else they can go to until 6am. Scrap the premise of this whole article; if you’re with the right people, anywhere is good right? It will definitely be an experience.
  • Sela Bar/ Wax Bar, New Briggate – Born in the wrong generation? We get it, you listen to 80s new wave, you drink £9 doubles, you’re not like the rest of us until you wake up to find 50 different versions of yourself at these bars. No shame, I was just like you too once.

New Events:

  • Hot Pot Tuesday, Distrikt – 24th September for house, disco and techno
  • Shakedown Fridays, Headrow House – 27th September for funk, soul, motown and disco

*Come to the first Music and Clubs section meeting for discounted tickets for both Hot Pot Tuesday and Shakedown Friday!