At this point, Harry Styles has made it very clear that he's come into his own as an artist. In the six years since One Direction's hiatus, he's worn a dress on the cover of a magazine, he's starred in major motion pictures, and he's headlined Madison Square Garden (multiple times). But he may have just delivered his biggest artist statement yet.
Styles' third album, Harry's House, is his most sonically diverse set, bringing fans deeper into his musical universe with entrancing production and liberated vocals. Sure, his 2017 self-titled debut and 2019's blockbuster Fine Line were a solid introduction to what he's capable of, but with Harry's House, he's seemingly never felt more free.
"My favorite thing about it is, it just feels the most like me," Styles told Apple Music's Zane Lowe. As Lowe himself asserted, "the Harry who sits before us all is not the same. You can hear it in the brand new album, Harry's House — the growth; it's a triumph."
Whatever you want to call it, Harry's House is a sign that Styles himself believes he has arrived. And — if you haven't already — he's ready for you to move in.
Below, here's five takeaways from Harry Styles' Harry's House.
He Has Skeletons Left In The Closet
As anyone familiar with Styles' dating life may imagine, several songs on Harry's House tease that he is in love. Within the first minute of the album's first track, "Music For a Sushi Restaurant," he proclaims, "It's cause I love you babe/ In every kind of way"; in the first verse of "Grapejuice," he declares, "There's never been someone who's so perfect for me."
Yet, there's a looming sense of remorse across a majority of the album's 13 tracks. "I hope you're missing me by now," he sings in bouncy cut "Daylight," while the swirling "Satellite" opens with "You got a new life/ Am I bothering you?/ Do you wanna talk?"
Ironically, the track titled "Little Freak" is perhaps the most wistful on the entire LP. The whole song feels like a letter to a past lover, mostly reminiscent of their time together — until the bridge, where he owns up to his mistakes. "I disrespected you/ Jumped in feet first and I landed too hard," he sings. "A broken ankle/ Karma rules."
Styles may not give obvious context clues in any of these songs, but one thing is apparent: No matter where he stands in his love life now, he's clearly had some things to get off his chest.
He's Still On Team Women
Styles has always been vocal about his support for women, from calling young girls "our future" to wearing a shirt that reads "women are smarter." Thanks to Harry's House, he now has a song to show for it, too.
The somber ballad "Boyfriends" recognizes the faults of men in relationships, from taking their partner for granted to playing games. While Styles acknowledges that women may not always punish men for their wrongdoings ("You love a fool who knows just how to get under your skin/ You, you, you still open the door," he sings in the second verse), he made the song's main subject very clear upon debuting it at Coachella: "To boyfriends everywhere, f*** you."
Elsewhere, he shows empathy for a character from a troubled household on the poignant "Matilda" ("You can throw a party full of everyone you know/ And not invite your family/ Cause they never showed you love," he sings on the chorus). It may not be as direct of a feminist message, but further proves that he'll stand up for anyone mistreated.
"As It Was" Is The Most Radio-Ready Track
After Fine Line produced the funk-inspired jam "Adore You" and the catchy-as-ever GRAMMY winner "Watermelon Sugar," the stakes were high for his Harry's House lead single. And boy did he deliver: Not only is "As It Was" a synth-pop bop, but it broke records on Spotify and Apple Music and subsequently hit No. 1 in several countries upon its release.
Those looking for more "As It Was" types may be surprised upon diving into Harry's House, as the song is about as pop-leaning as the album gets. Though that's not to say that Harry's House won't spawn any more hits.
There's still plenty of infectious melodies on the album, particularly on "Late Night Talking," "Cinema," "Daydreaming," and "Daylight." Between disco grooves, roaring horns and '80s-style synths, most of the Harry's House tracks don't have the traditional formula of a commercial pop success — but with that, Styles may just reinvent what "radio hit" means in 2022.
It's His Most Genre-Bending LP Yet
While Styles' first two albums called back to the '70s and '80s pop/rock artists that have inspired him from the start — like David Bowie, the Rolling Stones, Joni Mitchell and Fleetwood Mac — the influences of Harry's House are a little tougher to pinpoint. Perhaps that's because, as he explained to Better Homes & Gardens, he didn't seek inspiration in any music at all.
As a result, Harry's House is quite the sonic evolution from his first two sets — and a funky one at that. There's so many layers of sounds across its 13 tracks that it feels as experimental as a Prince record, with touches of alt-pop, soul, new wave and folk. Every song features a synth (with the exception of the acoustic "Boyfriends"), each taking listeners on a new journey — from the burning bass of opener "Music For a Sushi Restaurant" to the subdued electronica of closer "Love of My Life."
Harry Is Simply Having Fun
If you've seen Styles in concert, you know that he is definitely doing what he loves. His performances are as electric as they come, bouncing around with a Jagger-esque swagger and a childlike spirit. And that was before he had this album.
Harry's House is a sonic manifestation of the energy he's brought to the stage, with one undertone across the entire project: fun.
Even in its more reflective moments, the album brings Styles more liberation than agony. Whether it's the in-your-face instrumentation, scintillating production or Styles' variations of falsetto, Harry's House feels like a giant party — one that the singer can't wait to throw over and over again.