It feels like a lifetime ago that a curly-haired teenager from Cheshire stepped onto the X Factor stage to sing 'Isn’t She Lovely'. Back then, we knew him as one-fifth of One Direction, a member of the boy band juggernaut that redefined 21st-century fandom.
Ten years! It's been a decade since One Direction broke up, and since then, Harry Styles has pulled off one of the most masterful transitions in music history. He didn't just step out from the shadows of a group; he completely rewrote the rulebook on what it means to be a modern pop star.
Through three genre-bending solo records, the classic rock-infused 'Harry Styles', the psychedelic pop of 'Fine Line', and the Grammy-winning intimacy of 'Harry’s House', he has cultivated a sound that feels both nostalgic and entirely fresh. Now, with his highly anticipated fourth album, 'Kiss All the Time. Disco, Occasionally.', set to drop on March 6th, and the lead single 'Aperture' already dominating the charts, Harry’s trajectory shows no signs of slowing down.
But what truly cements Harry as a once-in-a-generation icon isn't just the music, it’s the entire world he’s built around it. To be a fan is to participate in a culture of 'Treat People With Kindness, ' a philosophy that radiates through his eccentric, gender-fluid fashion choices (from Gucci ballgowns to those signature feather boas) and his high-energy live shows that feel like the world's most inclusive house party. Influenced by legends like Fleetwood Mac, David Bowie, and Shania Twain, Harry blends a vintage rock-star swagger with a soft, empathetic personality that makes millions feel seen.
As we prepare for a new era of disco-tinged hits and stadium-sized sing-alongs, there’s no better time to look back at the tracks that got us here. From soaring rock ballads to infectious summer anthems, here are my top 10 Harry Styles songs, ranked.
As the closing track of the album of the same name, 'Fine Line' acts as the grand, emotional heartbeat of the record. Led by a delicate acoustic guitar and one of his finest choruses to date, the song captures the dizzying equilibrium of a life lived in the spotlight and a heart caught in the "push and pull" of a relationship.
While the rest of the record explores the highs and lows of "having sex and feeling sad," 'Fine Line' serves as the ultimate resolution. It is a sprawling, six-minute masterpiece that begins in a place of quiet vulnerability before building into a triumphant, brass-heavy crescendo. Harry’s vocals transition from a gentle croon to a soaring declaration, repeating the mantra, "We’ll be a fine line", over jubilant, lush orchestration before finally offering the comforting reassurance: "We’ll be alright."
This track serves as a perfect blueprint for Harry’s artistry, illustrating his unique ability to take classic folk-rock influences and polish them into something that feels modern, massive, and deeply personal. The atmospheric, cinematic production, complete with echoing drums and a Bon Iver-esque wall of sound, elevates the piece, making it feel less like a standard pop song and more like a spiritual experience. It represents the album's literal balance: the idea that you can be both happy and sad at the same time and that, eventually, those two conflicting emotions will find a way to coexist.
During his world tours, 'Fine Line' evolved into a true live spectacle and a focal point of connection between Harry and his audience. Often accompanied by sweeping lights and a stadium-wide hush that builds into a roar, the performance allows thousands of fans to find collective peace in that final, hopeful refrain. It is the moment where the vulnerability of the studio recording meets the communal energy of the stage, proving why it remains one of the most essential pieces of his discography.
If the start of Harry’s solo career was about proving his rock-star credentials, 'Music for a Sushi Restaurant' is about having the confidence to be completely, brilliantly weird. Serving as the opening track for his third album, 'Harry’s House', the song is a vibrant, neon-soaked pulse of energy. I vividly remember when this record first came out; I went into work that day and immediately started buzzing about it with two of my mates.
As we debated our favourite tracks, I kept coming back to this one. I thought it was such a bold, fearless statement to open a record, and it stands as a brilliantly crafted piece of "weird pop" music. After a couple of days, they thought the same thing!
Led by a thick, driving bassline and one of his most infectious melodies, the song signals a shift into a more playful, experimental territory. Harry croons and scats over jubilant, lush orchestration, turning culinary metaphors about fried rice and green tea into a sophisticated pop anthem. It is a masterclass in tension and release, and I defy anyone not to scream "It's 'cause I love you, babe!" along with the chorus as the horns kick in.
The track serves as a perfect blueprint for Harry’s evolving artistry, illustrating his unique ability to take niche influences, specifically 1970s funk and Japanese City Pop and polish them into something that feels modern, massive, and deeply personal. The atmospheric, cinematic production, complete with sharp brass hits and a "wall of sound" vocal arrangement, elevates the piece into something larger than life. During his record-breaking 'Love On Tour', this song evolved into a true live spectacle, often used as a high-octane opener that turned entire stadiums into giant dance floors. It is the moment where quirky vulnerability meets communal energy, proving Harry is at his best when he’s inviting us all to just have fun.
'Harry's House' is a record that has it all, and with 'Late Night Talking', he embraced mid-tempo R&B, and it's brilliant. It was actually the very first song written for the album, composed on the first day of studio sessions while the gear was still being set up. According to Harry, the track’s immediate, joyful energy allowed the band to relax, setting the lighthearted and intimate tone for the entire record.
Since its release, the track has skyrocketed to become one of the most popular songs in his entire catalogue, racking up over a billion streams and becoming a permanent fixture on global radio. 'Late Night Talking' made its debut at number 4 on the Billboard Hot 100 for the week of June 4, 2022, following the release of 'Harry's House'. After being officially released as the second single from the album, the song peaked at number 3 in its sixteenth week on the chart.
In the United Kingdom, where it was first released as a promotional single, the song debuted at number 2 on the singles chart dated 27 May 2022
It is a masterclass in early-eighties smoothness, anchored by a bubbling synth line and brassy vocal flourishes that mimic a horn section. Lyrically, it captures the giddy, addictive honeymoon phase of a relationship, those marathon phone calls where you talk about absolutely nothing until the sun comes up. It’s incredibly relatable, punctuated by sweet, protective lines like, "If you’re feeling down, I just wanna make you happier, baby." Whether he's singing about stubbing toes or following someone from Hollywood to Bishopsgate, the sentiment is pure, uncomplicated devotion.
This track became an instant anthem during 'Love On Tour', where its massive popularity was on full display. Harry often performed it with a mischievous energy, dancing across the stage in his signature flamboyant style while the crowd shouted back every word with deafening enthusiasm.
It's exactly what a pop song should be
While much of Harry’s debut album was about him finding his feet as a rock frontman, 'Two Ghosts' proved he could also be a master of the country-tinged folk ballad. It’s a mournful, acoustic autopsy of a relationship that has run its course, where the two people involved are physically the same but emotionally unrecognisable to one another. With its slide guitar and slow-rolling swagger, reminiscent of The Rolling Stones’ 'Tumbling Dice' or George Harrison’s 'All Things Must Pass', it’s a track that feels heavy with the weight of nostalgia.
The lyrics are some of the most storied in his career, famously opening with descriptions of "Same lips red, same eyes blue / Same white shirt, couple more tattoos." These lines sent the internet into an immediate frenzy of speculation, with many fans convinced the song is a direct response to Taylor Swift.
The imagery feels like a deliberate mirror to Taylor’s own track 'Style', where she famously sang about a "red lip" and a "white T-shirt." When asked about the connection on BBC Radio 1, Harry offered a classic, non-committal answer, simply stating the song was "self-explanatory" and about how "sometimes things change.
Beyond the tabloid headlines, however, the song is a profound meditation on growth and distance. Harry captures that discomfiting, empty feeling of realising the spark is gone, crooning the haunting refrain: "We’re just two ghosts standing in the place of you and me." It’s a song about trying to reclaim a sense of humanity and "remember how it feels to have a heartbeat" after a love has turned cold. It highlights his ability to write from a place of deep, quiet vulnerability, standing in stark contrast to the stadium-sized anthems that would follow.
In a live setting, 'Two Ghosts' became an intimate highlight of his first world tour. It was often performed with a simple, elegant setup, just Harry, his guitar, and a band of incredibly cool musicians. Interestingly, the song almost had a high-concept music video featuring a river of rainbows, segments of which were used as tour visuals, but the official video was never released because Harry reportedly felt it was "too personal." That sense of privacy only adds to the song’s mystique, cementing it as a fan-favourite that proves Harry's songwriting is at its most powerful when he’s looking backwards.
If there was ever a moment that defined Harry’s transition from boy band member to serious rock contender, it was the release of 'Sign of the Times'. As his debut solo single, this wasn't just a song; it was a five-minute-and-forty-one-second statement of intent. Rejecting the trendy, radio-ready tropical house sounds of 2017, Harry instead opted for a sweeping, Bowie-esque glam rock power ballad. It was a massive gamble that paid off instantly, debuting at number one in the UK and signalling to the world that Harry Styles, the solo artist, had arrived with a sound that was grand, theatrical, and deeply ambitious. The "boy from the boy band" was officially gon.e
I was in sixth form when this song was released, and I remember being told to listen to it. As a self-proclaimed indie kid, I was reluctant to give it a chance, but once I finally caved, I was very pleasantly surprised. It’s a grand, 70s-inspired epic that shares some traits with the last great member of a boy band to launch an illustrious solo career: Robbie Williams. Much like 'Angels' did for Robbie, 'Sign of the Times' proved Harry had the vocal chops and the artistic vision to command a stadium all on his own.
The song is famously written from a hauntingly unique perspective. Harry revealed in an interview with Rolling Stone that the lyrics are from the point of view of a mother dying in childbirth, with only five minutes to tell her newborn child, "Go forth and conquer." However, Harry later noted that the outside chaos of the world provided an added layer of political inspiration. When asked by the New York Times if events like Brexit, the Black Lives Matter movement, and the rise of Donald Trump influenced his songwriting, he explained that it would have been "strange to not acknowledge what was going on at all." For Harry, the song was a way of commenting on a difficult era, acknowledging that while it is easy to feel "incredibly sad," it is also important to remember the "amazing people doing amazing things."
Visually, the track was accompanied by an iconic music video that saw Harry literally taking flight over the Isle of Skye. Eschewing CGI for real-life stunts, he was suspended from a helicopter, soaring hundreds of feet above the rugged landscape in a long wool coat.
During 'Love On Tour', 'Sign of the Times' served as a spiritual high point of the encore, providing a moment of communal catharsis as entire stadiums were illuminated by phone lights. It remains the foundation of his solo identity, a timeless piece of music that proved he was always meant for the big stage.
If Harry’s earlier work was about finding his voice, 'As It Was' was the moment he became an inescapable global force. Released as the lead single for 'Harry’s House', this track didn’t just top the charts, it practically lived there, spending ten weeks at number one in the UK and fifteen weeks atop the Billboard Hot 100. It is an eighties-tinged behemoth with more than a subtle nod to A-ha that manages to feel incredibly intimate while simultaneously serving as a stadium-filling anthem. Even now, in 2026, it remains a definitive cultural touchstone of the decade.
The song begins with a sweet, domestic moment: the voice of his goddaughter, Ruby Winston, saying, "Come on, Harry, we want to say goodnight to you!" It’s a tender opening that sets the stage for a track Styles has described as being about "metamorphosis." Sonically, it’s a shimmering slice of synth-pop, but the lyrics are surprisingly melancholic, exploring themes of isolation and the realisation that life, and the people in it, will never quite return to how they used to be. The repetitive, hypnotic mantra of the chorus, "You know it’s not the same as it was", feels like both a sigh of resignation and an acceptance of change.
One of the most fascinating aspects of the song’s legacy is the "Leave America" phenomenon. In the bridge, Harry sings the line: "Leave America, two kids follow her." While many theorised at the time that this was a nod to his then-girlfriend Olivia Wilde, the lyric took on a completely different life for his British fans. During the European leg of 'Love On Tour', screaming those two words at the top of their lungs became a mandatory tradition for the UK crowd, a cheeky, high-decibel plea for their homegrown hero to spend less time in Hollywood and more time back on British soil.
Visually, 'As It Was' took Harry's fashion icon status to new heights. The music video featured him in a now-legendary custom red sequined jumpsuit, spinning on a giant turntable, a look that instantly became one of his most recognisable. The song perfectly balances the quirky, personal songwriting of 'Harry’s House' with the undeniable gravity of a global pop phenomenon, proving that Harry is at his most potent when he’s pairing upbeat, danceable production with deep, reflective vulnerability.
If you’re looking for the sonic equivalent of a midday sunbeam, 'Daydreaming' is it. Tucked away on the B-side of 'Harry’s House', this track is a high-octane explosion of funk and soul that feels like a natural successor to the "weird pop" of 'Music for a Sushi Restaurant'. It’s an immediate mood-lifter, driven by a blistering horn section and a groove so deep it practically demands a dance floor.
The song’s secret weapon is its vintage DNA. It prominently samples the 1978 soul track 'Ain’t We Funkin’ Now' by The Brothers Johnson, a connection that brings the legendary Quincy Jones into Harry’s songwriting credits. This isn't just a shallow sample, though; Harry and his long-time collaborators, Kid Harpoon and Tyler Johnson, build an entirely new, modern energy around those disco-funk foundations. It even features the distinctive guitar work of John Mayer, adding a layer of bluesy sophistication to the track's shimmering pop surface.
Lyrically, the song captures the blissful, dizzying escapism of being so infatuated with someone that you’d rather live in your imagination than reality. Lines like "She said, 'Love me like you paid me'" and the soaring refrain of "Give me all of your love, give me something to dream about" perfectly encapsulate that feeling of wanting to bottle up a moment to keep for a rainy day. Some fans have even interpreted the "she" in the song as a personification of Harry’s own creative or feminine side, a presence that he only feels fully free to embrace within the private "safe space" of a daydream.
During 'Love On Tour', 'Daydreaming' became a massive highlight of the setlist, particularly during his residency at Wembley Stadium. In fact, it often served as the high-energy opener for his 2023 UK dates, with Harry skipping onto the stage in gold bedazzled dungarees to the roar of 90,000 people. There was something uniquely electric about seeing that sea of feathers and sequins shouting the "Bah-bah-bah-bah!" horn lines back at the stage. It’s a track that showcases Harry’s incredible vocal stamina; he frequently leans into powerful, grit-filled ad-libs toward the end that show just how much he’s grown as a performer since his One Direction days. It’s a bold, funky, and unashamedly joyful piece of music
The opening track of Harry's second record is an expansive piece of sunny summer pop sheen. Personally, I believe this is Harry’s best pop song, bar none. While he has bigger hits and more experimental tracks, 'Golden' strikes a perfect, rare balance: it is undeniably catchy and radio-friendly, yet it possesses a depth and a driving-down-the-coast atmosphere that most pop songs can only dream of.
The track is built on a foundation of shimmering guitars and a '70s soft-rock sensibility that feels like a love letter to Laurel Canyon. Harry famously wrote it on only the second day of recording at the legendary Shangri-La studios in Malibu, and he knew instantly it had to be the album opener. Lyrically, it captures the terrifying thrill of falling for someone new while still carrying the "scars" of the past. There’s a beautiful vulnerability in lines like "I'm out of my head, and I know that you're scared because hearts get broken," but the music remains stubbornly hopeful. It’s a song about the light that another person can bring into your life, or even the light you find in yourself, and that ecstatic, wordless "Da-da-da-da!" hook in the chorus is pure, sonic sunshine.
The music video further cemented the song's status as a fan favourite, featuring Harry sprinting through the winding roads and tunnels of the Amalfi Coast in Italy. Eschewing flashy effects for a raw, youthful energy, it saw him driving a vintage Alfa Romeo and taking a dip in the Tyrrhenian Sea, all while wearing a custom wardrobe that redefined Harry's style.
During 'Love On Tour', 'Golden' was always a transcendent moment. Bathed in actual golden light, Harry would skip across the stage as thousands of fans screamed "You’re so golden!" back at him. It became a communal celebration of finding "the antidote" in love and self-acceptance. It’s a flawless piece of songwriting that proves Harry doesn't need gimmicks when he has a melody this bright, and that he's still the biggest and best pop star in the world.
If you want to witness the exact moment Harry Styles claimed his throne as a modern-day rock star, look no further than 'Only Angel'. This track is a masterclass in musical misdirection. It opens with nearly a minute of ethereal, choir-like orchestration and shimmering harps, a sound so heavenly you’d be forgiven for thinking you’d accidentally put on a classical record. Then, without warning, the angel facade is shattered by a sharp, rock-and-roll scream, and the track explodes into a high-octane, piano-driven stomper that would make The Rolling Stones proud.
One of the standout elements of this song is the infectious "woo-hoo!" refrain that peppers the chorus. There is an unspoken rule in music history: if a song has a "woo-hoo" in it, it’s almost certainly going to be brilliant. You can track this lineage through some of the greatest tracks of all time. Think of Blur and the explosive, distorted energy of 'Song 2', which redefined 90s indie with those two syllables. Or The Beatles, who were the masters of the "woo-hoo", whether it was the playful, frantic energy of 'Hello, Goodbye' or the harmonised whoops in 'I Am the Walrus' and 'Twist and Shout'. Harry taps into that same primal, feel-good rock energy here, proving he knows exactly what makes a song stick in your brain.
Lyrically, the song is a playful exploration of a "femme fatale" who is "an angel" to the world but a "devil in between the sheets." Harry leans into the rock-star persona with grit and swagger, delivering lines about breaking fingers and getting splinters with a raspy, liberated vocal. Many fans have long speculated that the song might be about Kendall Jenner, given the "Angel" motif tied to her Victoria's Secret modelling days, but Harry has kept the mystery alive.
During 'Live On Tour', this was often the show’s high-energy peak. Harry would prowl the stage with a tambourine, feeding off the crowd's energy as they shouted every "woo-hoo!" back at him. It’s a track that pulses with sex appeal and classic rock sensibilities, making it the perfect runner-up on this list. It's a reminder that beneath the pop polish, there's a serious rocker with a penchant for cowbells, claps, and absolute chaos.
And here we are, in the number one spot. Taking the gold medal is 'Satellite. While it's a deep cut on 'Harry’s House', it has evolved into a into my favourite Harry Styles song. It is a masterpiece of tension and release, perfectly capturing that feeling of being in an L.A. mood, orbiting someone you love but feeling light-years away.
The song is a sonic journey. It begins with a soft, pulsing electronic beat and Harry’s delicate, almost hesitant vocals, creating a sense of weightless isolation. But as the song progresses, the gravity starts to pull. The instrumentation builds layer by layer until it reaches its finale: a massive, crashing explosion of drums and distorted synths often referred to by fans as the "Satellite Stomper." This climax is largely thanks to the incredible Sarah Jones, whose heavy, driving percussion on this track is nothing short of legendary. It’s the kind of ending that demands to be heard at maximum volume, making you feel as though you’re literally spinning out into the atmosphere.
The music video for 'Satellite' only added to its emotional weight. It features a small, lonely vacuum robot named "Stomper" who wanders through the backstage of Harry’s concerts, longing to connect with the Mars Curiosity Rover after seeing it on a TV screen. It was a heart-wrenching metaphor for the song’s themes of longing and distance; seeing the little robot's battery die in a field outside NASA just as it reached its destination left the entire fandom in tears.
Many have interpreted Stomper's journey as a reflection of Harry’s own life in the limelight, constantly moving, surrounded by people, yet often profoundly alone.
During 'Love On Tour', 'Satellite' became the ultimate high point of the night. The "Satellite Stomps", Harry’s erratic, joyful dancing during the song’s breakdown, became a viral sensation and a symbol of the freedom and "safe space" he created for his fans. It’s a song that works on every level: it’s a technical marvel, an emotional gut-punch, and a high-energy anthem all at once. For its ability to make 90,000 people dance and cry simultaneously, 'Satellite' more than earns its place at the very top of this list.
It is rare to witness an artist evolve with such grace and intentionality. Harry Styles has spent the last decade proving that you can be a global superstar without sacrificing your soul, your style, or your sense of wonder. From the moment he stepped away from the boy band safety net, he chose the path of most resistance: trading easy radio trends for guitar-driven ballads, 70s funk, and lyrics that actually say something.
Whether he’s orbiting like a lonely vacuum robot in 'Satellite', screaming "woo-hoo!" like a classic rocker in 'Only Angel', or reminding us that we’re going to be "alright" in 'Fine Line', Harry’s music has become a sanctuary for millions. He has successfully bridged the gap between the legendary icons of the past and the inclusive, boundary-pushing future of pop.
As we look toward the release of 'Kiss All the Time. Disco, Occasionally.' this March, it’s clear that Harry isn't just following a trajectory, he’s charting a whole new course. He remains our "golden" boy, the rock star we didn't know we needed, and an artist who continues to remind us that in a world that can be "incredibly sad," there is still so much room for dancing, kindness, and great music.