★★★☆☆

Harry Styles returns with a new album that sees the pop star try something new, but the results still don’t feel that groundbreaking.

Harry Styles is all the rage these days. Once a member of a wildly popular boyband, Styles is now a global superstar, as a solo artist and in film and TV. The recent success of ‘As It Was’, which became the most-streamed song on Spotify in 24 hours by a male artist, and broke the Apple Music streaming record for most first-day streams for a 2022 release, only heightened expectation for his new album, Harry’s House.

There’s already Oscar buzz for Styles, too, for his role in an upcoming drama My Policeman and he set the internet on fire when the trailer for Don’t Worry, My Darling landed. Fittingly, Harry’s House feels like it’s made to be featured in a film. 

Starting off with the catchy ‘Music For A Sushi Restaurant,’ Harry’s House laments itself as a funky, flamboyant album. It’s all remarkably easy listening and it’s hard not to tap your feet along the way. The general feel of the songs, however, is that of elevator music. It’s relaxing and Styles seems at his most comfortable here and in that sense, Harry’s House is a winner. 

The biggest problem is that most of the songs sound and feel the same. Sure, Styles’ smooth and enticing voice is a joy to listen to, but none of them leave a massive mark on their own. As a whole, the album is solid and will surely please Styles’ fans, but there’s very little here to draw in new listeners.

The whole album sounds like it would accompany a quirky rom-com, probably starring Zoeey Deschanel. It’s not a criticism really, but every song sounds like it would go well with a montage or playing in the background as a character cooks breakfast for their new beau, moments before disaster strikes. 

The album’s second track, ‘Late Night Talking,’ is probably the catchiest tune on there. It’s hypnotic and despite its heavy 80s sound, it feels fresh and new. ‘Grapejuice,’ a seductive track about the joys of drinking wine, continues Styles’ fascination with songs about fruits. 

The lyrics are often deliciously sexy, although at times a bit silly, but thankfully, Styles’ sultry voice helps with that. ‘Cinema’ is the album’s thirstiest track and, gloriously, Styles doesn’t bother with vague metaphors, singing “If you’re getting yourself wet for me, I guess you’re all mine” instead. It’s the kind of stuff that will send fans absolutely wild, but it’s also refreshing to hear someone like Styles sing about sex so frankly and honestly. ‘Cinema’ is certainly one to be added to your Spotify sex playlist. (Don’t lie, we all have one). 

Compared to 2019’s Fine Line, Harry’s House is more relaxed and smoother, but that’s also something of its downfall: it lacks a certain excitement. There’s nothing new here; even when the songs feel fresh for Styles, none of them jolts you or thrills you. The tracks float in and out of your ears, but there’s no spark, none of them are earworms. No track on there, apart from maybe ‘Late Night Talking,’ has that addictive, must-be-played-on-a-loop -quality to them. 

Of course, an album’s merits aren’t purely based just on its catchiness and there’s much to admire in Harry’s House. Styles proves himself to be an impressive vocalist but it’s hard not to wonder if he’s now more committed to his film career than music. Harry’s House is still an enjoyable album, even if there’s a nagging feeling that Styles could have pushed himself harder.