Songs you need to know by the sensational and stylish Harry Styles.
Covering chart-topping hits to hidden gems, here's a deep dive into Harry Styles' standout tracks!
collage by Dana Herrera; top left: retrieved from Harry Styles’ official Twitter account; middle right: taken by Helen Pambrun; bottom left: taken by @tpwksunny on Twitter.
It’s difficult to imagine Harry Styles outside of his angsty, teenage heartthrob boy band days. One Direction was, after all, one of the major pop sensations of the 2010s. Since then, however, Styles has worked tirelessly to develop himself as a successful solo artist, soaring to incredible heights beyond the confines of his One Direction stardom. He not only stands as the most successful member of the group—proccuring numerous accolades, including performing the fifth-highest grossing tour of all time and winning Album of the Year at the 65th Annual Grammy Awards—but he’s also one of the most prominent pop stars of the decade. Even with all of these accomplishments, many people fail to recognize Styles’ musical prowess. As a “mega” fan of the British pop sensation, I've meticulously curated a list of songs, spanning his three albums, for first-time listeners who wish to delve into his music. With a name like Harry Styles, it would be a missed opportunity not to check out his extensive, sensational discography.
From his debut album, Harry Styles (2017):
“Only Angel”
The sixth track on Harry Styles begins on an ethereal, heavenly note with a melodic orchestra and a distant voice echoing, "I saw an angel / I really saw an angel." The harmonic melody quickly turns into a rock ballad as Styles' iconic, rockstar-eseque scream pierces through. The song then delves into Styles' fascination with a woman who embodies both angelic and devilish qualities, captivating him despite her penchant for trouble. Styles characterizes this femme fatale with lines like, "Couldn't you take home to mother in a skirt that short / But I think that's what I like about it.” He expresses a willingness to go to extremes for her, emphasized by the repeated lyric, "Wanna die, wanna die, wanna die tonight," symbolizing his readiness to meet her in “heaven,” where all the angels are. Sonically, the song is a lot of fun, featuring a variety of eclectic sounds: cowbells, claps, riffs of an electric guitar, snappy drum beats, and plethora of “woohoos.” "Only Angel" is, undoubtedly, a testament to Harry Styles' versatility, by blending both calming and high-energy-rock elements that coalesce into a vivacious and sensual rock banger.
“Woman”
The ninth track from Harry Styles is, arguably, a bit more soulful; it’s a soft rock ballad that skillfully blends the melodies of piano, drums, and electric guitar, while simultaneously incorporating a distinctive, repeated "duck"-like sound, distorted from Harry's own voice. In "Woman," Styles delves into jealousy, as his former lover moves on to a new partner. The pre-chorus encapsulates Styles' frustration and envy effectively: "I hope you can see the shape that I'm in / While he's touching your skin / He's right where I should, where I should be / But you're making me bleed." Styles' feelings for the elusive "Woman" are intense—bordering on lustful desire—often likened to a primal, animalistic urge with lyrics like, "This thing upon me, howls like a beast / You flower, you feast." The chorus, in repeating the words "Woman, woman (La-la-la-la-la-la-la-la)," mirrors the act of tuning out undesirable thoughts or emotions, emphasizing Styles' struggle to come to terms with his jealousy. Styles’ intense, spiteful, and desperate vocal delivery underscore his deep-seated envy and resentment toward this new relationship, audibly portraying his feelings of anger and desperation.
“From the Dining Table”
The closing track on Harry Styles is a solemn, acoustic ballad that touches on the heartbreak and devastation that comes with a breakup. The first verse sets the scene for the breakup’s aftermath, as Harry sings, “Woke up alone in this hotel room / Played with myself, where were you? / Fell back to sleep, I got drunk by noon / I've never felt less cool.” Harry, in missing his ex lover, seeks out sexual gratification; he feels pathetic, in this pit of despair and agony over the loss of his love, and just wants to reach out to them in hopes of rekindling their relationship. The chorus features some dreamy vocals from Styles, as he repeats the lines, “Maybe one day you'll call me and tell me that you're sorry too.” As the song progresses, the guitar strums grow faster, eventually joined by a violin. The choral production quickly becomes grand and orchestral, portraying Styles’ growing hope for the relationship—only to be shot down again, towards the song’s end, as Styles repeats the song’s chorus, this time in a somber tone. Ultimately, this song is both a devastating and soothing one, a testament to Styles’ great musical ability.
From his magnum opus and sophomore album, Fine Line (2019):
“Adore You”
I’d like to start this section with a quick note: As I compiled this list, my aim was to be as objective as possible—ensuring a diverse selection of Styles’ songs without succumbing to the influence of my own, personal favorites. That being said, I couldn’t help myself with “Adore You.” It’s my favorite, and it’s brilliant, and I hope you enjoy it!
“Adore You” is Styles’ second single and third track on Fine Line, taking inspiration from pop, funk, and disco. The production includes killer electric guitar riffs, groovy bass strums, catchy snare drums, and smooth harmonies that emulate the euphoric feeling of falling in love, which Styles describes throughout the song. Specifically, “Adore You” depicts the start of a relationship, the honeymoon period where one is completely and wholly infatuated with their partner. We see Styles’ admiration for his partner through the lyrics, “Walk in your rainbow paradise (Paradise) / Strawberry lipstick state of mind (State of mind) / I get so lost inside your eyes / Would you believe it?” He’s passionate about his love, going as far as to “walk through fire” for this person, while simultaneously expecting nothing in return. Styles describes his unconditional, unrequited love in the chorus by singing, “You don't have to say you love me / You don't have to say nothing / You don't have to say you're mine.” Ultimately, it’s a cute, lovey-dovey song that reminds us that, even if the object of our affections doesn’t return our love, we can still appreciate the delight and joy that is falling in love.
“Lights Up”
Styles’ first single from Fine Line, on the other hand, is a pop song with elements of soul, R&B, and rock. Throughout it, Styles incorporates multi-layered guitar riffs, piano instrumentals, impressive high notes, and a melodic choir, all working to give the song a psychedelic feel. Thematically, “Lights Up” describes Style’s journey toward self-discovery and freedom, and the challenges that come with it. The first verse introduces Harry, as he rises from the darkness, claiming he has the option to stay in the dark, but instead, refuses to be held back. He sings, “What do you mean? / I'm sorry by the way / Never coming back down / Can't you see? / I could, but wouldn't stay / Wouldn't put it like that.” Styles acknowledges there's a sense of comfort and safety that comes with “staying in the dark.” It’s “easy,” and although being in the light comes with a sense of clarity and freedom, Styles now feels exposed and judged by those around him. He’s quite literally in the spotlight, which brings him great difficulty while exploring his own identity. Despite this, Styles chooses the light, visible through the repeated lyrics in the bridge, “Shine, step into the light / Shine, so bright sometimes / Shine, I'm not ever going back.” Ultimately, the song, melancholic yet soulful, urges listeners to embrace self-expression. Its uplifting nature, combined with captivating production, establishes "Lights Up" as one of Styles' most spirited and empowering tracks to date.
“She”
The eighth track on Fine Line, “She,” is a slow, rock ballad with a psychedelic, hallucinatory feel. Its funky production includes a multitude of distorted instrumentals, reverbed and delayed echoes, and even a trippy clip of Styles singing an encoded message in reverse. Toward the beginning of “She,” the song’s subject, a man, copes with his mundane life, while simultaneously battling this feminine entity within him. Styles sings about this mysterious figure in the chorus, “She (she) / She lives in daydreams with me (she) / She's the first one that I see / And I don't know why / I don't know who she is (she, she).” Most notable about the song is Styles’ vocals: while the verses feature Styles’ lower register, very stereotypically “masculine,” the chorus boasts Styles at his highest, singing in a falsetto, typically-feminine range, perhaps denoting a switch in persona. This shift manifests in the third verse, when Styles (or, the man) finally embraces this feminine entity, an explosion of emotion that culminates in an iconic guitar solo by guitarist Mitch Roland, as the man is left with nothing else to say about his feminine side.
“Fine Line”
The closing and title track of Fine Line is arguably Harry's most cathartic song. It’s also the one that struck me the most, emotionally, when I saw him perform it live in 2019. The best way to experience “Fine Line” is to close your eyes, lie on the ground, and immerse yourself in its epic musical arrangement and profound lyrics. Life and love walk a “fine line,” according to Styles, with certain highs feeling exceptionally high and certain lows sinking even lower. To feel happiness and sadness is to embrace the full spectrum of life, and this song encapsulates that perfectly with the inclusion of a plethora of instruments. The chorus, with Harry repeating the line, "We'll be a fine line," marks a pivotal moment in the song's musical production. The guitar strumming and Harry's heartfelt vocals, which had dominated the song until now, give way to a shift in musical arrangement. The introduction of piano, a slightly faster tempo on the guitar, the heightened passion in Styles’ voice, the rhythmic beats of a drum, and the resonant tones of a horn work to create a crescendo of passion, culminating in a sense of undeniable optimism. The song reaches its climax as Harry passionately shouts, "We'll be alright," accompanied by a full array of instruments that are celebratory, triumphant, and brimming with hope. Harry is determined to hold onto the relationship and realizes that, despite its imperfections, he wants to keep it alive. "Fine Line" is undoubtedly Harry's best album closer, offering a poignant contrast to the various themes of love, hope, sadness, and acceptance explored throughout the record.
From his most recent, three-time Grammy award winning album, Harry’s House (2023):
“Music for a Sushi Restaurant”
The electrifying dance-pop medley “Music for a Sushi Restaurant” incorporates elements of funk, jazz, and disco, expertly showcased through Styles’ scintillating scatting, lively horns, captivating harmonies, and a groovy rhythm that'll get you moving. The song cleverly weaves food references throughout, with lyrics like, “Green eyes, fried rice, I could cook an egg on you,” serving as metaphors that poetically express Styles’ attraction to the song's subject. In essence, the song exudes a whimsical vibe, making it the perfect choice for letting loose and having a good time. The recurring "Scuba-duba-do-boo-boo" and the catchy "ba ba ba's" in the chorus contribute to the song's lighthearted playfulness, setting a delightful tone for the album’s engaging opener.
“Cinema”
The eighth track on Harry's House unfolds with a captivating pop-funk production, featuring a groovy bassline, electrifying guitar strums, and infectious synthesizers. The song paints a vivid picture, of the start of an exhilarating relationship that feels almost cinematic. Styles openly conveys his profound affection for his partner, with the lyrics, "It's you, and I'm not getting over it / Darling, is it cool if I'm stubborn when it comes to this?" At the same time, Styles questions whether his fascination is reciprocated, as suggested by the lyrics, "I just think you're cool. I dig your cinema. Do you think I'm cool too? Or am I too into you?" The song's other lyrics, thankfully, imply mutual feelings, with references to intimate and sensual moments in the relationship. Lines like "I guess we're in time if you're getting yourself wet for me" exude sexual tension and reveal how both parties find pleasure in each other's company. The outro of the song adds an extra layer of fun and intrigue. Styles playfully manipulates the words used throughout the song, with the repeated phrase, "You got, you got, I bring the pop, you pop." "Pop," in this instance, can symbolize popcorn and soda, which are emblematic of a trip to the movies, or it can represent a point of sexual climax. As the song progresses, Styles enhances the instrumentals, mirroring the rising sexual tension, creating a dynamic and thrilling culmination to the track.
“Satellite”
The eleventh track on Harry's House incorporates ‘70s-inspired synth-pop production and space-themed symbolism. In the song, Styles compares himself to a satellite, reluctantly orbiting around his partner, waiting for the day they open up to him. In the chorus, he sings, “Spinnin' out, waitin' for you to pull me in. I can see you're lonely down there. Don't you know that I am right here?" Like a satellite, Styles can only observe his partner from afar, which frustrates him, as he longs to comfort them in their time of need. While the song starts off calm and melodic, the bridge reveals an accumulation of built-up frustration on Styles' part. He is angry that he can't reach out to his lover, and, in that frustration, he repeats, "Right here, right here. Spinnin' out, waitin' for you. I'm here, right here. Wishin' I could be there for you." In these lyrics, Harry is caught in a whirlwind, both metaphorically and emotionally, much like a satellite spinning intensely around its celestial body. The song ends with Styles' impassioned cry, met with a surge in the song's production, with instruments intensifying in power, volume, and speed. Along with its heartfelt storytelling, the production on “Satellite” is equally captivating; listeners may feel like they’ve been launched into space with this out-of-this-world track.
Indeed, the curly-haired, “baker boy” on X Factor is long gone, and, in his place, is the Harry Styles, a multifaceted, highly talented solo artist, possessing a distinctive sound and an unwavering passion for music. His musical repertoire is a testament to his willingness to explore and experiment with various genres, like pop, rock, folk, R&B, soul, funk, and more. The result is a dynamic sound that continuously evolves, appealing to a broad spectrum of listeners. Styles’ career, if nothing else, is one that defies confinement—forever transcending his days in One Direction.
edited by Nicole Millan-Ortiz.
collage by Dana Herrera.
album artwork believed to belong to either the publisher of the work or the artist.