Harry Styles’ highly anticipated third solo album, Harry’s House, was released on May 20, 2022. As an already massively successful artist, it is hard for Styles to outdo himself. Sadly, his album, which comes two-and-a-half years after his magnum opus Fine Line, did not meet expectations. 

Compared to his other albums, Harry Styles and Fine Line, Harry’s House is by far the worst. Listening to the album for the first time was a massive disappointment, but the songs improve after the second or third time playing them. Headphones help make it sound better too, by allowing for an all-embracing listening experience.

The majority of Harry’s House delves into a techno-pop genre that sounds like Wii waiting room music half of the time. “Little Freak” sounds like an indie artist trying to spice up their song by doubling the vocals. It is horribly over-edited, taking away from the quality of Styles’ voice. Harry Styles has no need for over-editing, he is already extremely talented. 

As for the genre, Harry’s House is missing the pop-rock style that Styles pulls off so well, opting instead for techno/house music. But it is not as though he was trying to reinvent himself through a new album—a lot of the songs sound similar to what he has done in the past. The opening track, “Music For a Sushi Restaurant,” pulls off the happy pop-rock genre, but only because it closely resembles “Sunflower, Vol. 6” and “Treat People With Kindness” from Fine Line. Some of the songs sound like they were built to be repeated on loop on the radio, getting a catchy tune stuck in your head even though it’s not a good song. They feel manufactured and artificially produced instead of being thoughtfully crafted by Harry Styles himself. “As It Was” and “Cinema” serve as prime examples of this. 

“Matilda” is quite the opposite. If there had to be a top three, this would definitely make the list. It feels more like “Meet Me in the Hallway” and “Sweet Creature” from Harry Styles with the down-to-earth feeling and use of simple guitar and piano. 

It’s safe to say that Styles excels at these slower and quieter songs that are more intimate, so it’s a real bummer that he filled Harry’s House with upbeat and happy pop songs that miss the mark. At least “Love Of My Life” ends the album on an okay note. It’s good because it sounds epic with pulsing synth and loud, echoing vocals, but isn’t overdone.

Nevertheless, the album could be playing in the background at a backyard BBQ and would fit perfectly with an average house music playlist.  

Overall, nothing on this album beats the Styles classics of the past. “Sign of the Times,” “Fine Line,” and “Only Angel” remain some of Styles’ best work; we can only hope to find songs half as good in the future.