A remarkable emigrant story: Five years ago, the former bakery salesman from Holmes Chapel in central England left the boy band One Direction; firmly convinced that he would find great fortune in America. Under the umbrella of the powerful management dynasty of Irving Azoff (including Nicki Minaj), his son Jeffrey has been able to put his UK protégé on the right track since his first solo single “Sign of the Times”. In a tricky interplay of music, acting (as in the WWII war drama Dunkirk) and mega-fashion marketing, Styles’ star rose higher and higher with each passing year.
Now, at the best showbiz age of 28, his third album, which accompanies the current US tour with sold-out multi-purpose halls. Colleagues from New York’s ROLLING STONE immediately called him a “Mick Jagger for our enlightened age”. A rock’n’roll gentleman in a new guise, gender fluid and cross-genre.
Big words that have so far been used to describe his radiant aura rather than his often unoriginal pop rock mix, which the production team Kid Harpoon and Tyler Johnson have been responsible for since 2017. For “Harry’s House” the usual army of supporters at this VIP level joins in, so that nothing goes wrong. Adele songwriter Tobias Jesso Jr. co-wrote the song “Boyfriends,” which features a certain Ben Harper on guitar.
In this constellation, the 13 songs of his current opus approach the elegance that Styles also radiates in the rest of life. That means: more Steely Dan grooves, more R’n’B elements. In addition, brass sections and synthesizers that reinvent the sound of the 1980s. The US colleagues from ROLLING STONE speak of “marbled suppleness”. “Late Night Talking” is an example of this, with its uplifting beats citing the slick pool party fantasies of fellow Prince colleagues Jimmy Jam and Terry Lewis. “Daydreaming” revolves around a sample of the 1978 groove classic “Ain’t We Funkin’ Now” by Brothers Johnson, produced by Quincy Jones at the time.
Informative retro references that Harry Styles translates into controlled ecstasy with squeaks and “Whoooooo” passages. “Music For a Sushi Restaurant”, one of the many food references in his new repertoire, turns out to be fully funky syncopated, here too he squints at the Purple Rain majesty from the corner of his eye.
When the dance floor takes a break, Styles throws out languorous ballads like “Little Freak” or “Matilda”. These in turn float in the beguiling aura of Laurel Canyon. Joni Mitchell says hello.
Harry Styles may be THE man of the moment. In his music, he cannot avoid reaching stylistically from the shelves of pop history. He’s doing it now with no major mistakes. The rock repertoire remains largely in the broom closet. Also suits him better. “Harry’s House” initially makes him the number one show performer in the pop universe.
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