Harry Styles takes the biggest risk with his ‘addictive’ new album
I need to start with a confession: I wasn’t sold on Aperture when it dropped. Instead, it took several listens for the song to grow on me.
This meant I went into Kiss All The Time. Disco Occasionally, sceptically anticipating disappointment but eager for Harry Styles to win me over with his new sound.
To my surprise, he did. Completely.
From start to finish, Harry delivers on his promise to kiss all the time and disco more than occasionally, and I was totally along for the ride.
Aperture serves as the perfect album opener and an introduction to this dance-infused era, which I suspect will divide fans in a way none of his previous records have.
My knee-jerk reaction to the track was common among fans, after huge confusion over it being branded ‘techno’.
Now the dust has settled, it’s been a welcome addition to my playlists, but it’s probably one of my least favourite songs from the album.
If your baseline is Aperture, the rest of the KATTDO matches or excels that dance overtone with an edge that Harry’s never had before.
The former One Direction star isn’t totally alienating his fans; those pop origins are still loud and clear, especially in the second track, American Girls. It feels almost Fine Line-esque with a dance beat.
Echoes of Harry’s House are also dripped throughout the album. This is not a total rebrand; it is simply the next step in his evolution.
Where his third solo album used pop-funk and synths to create a melancholy, moody vibe, KATTDO leans into disco and electronic with the sole purpose of making you move.
His beloved hit Watermelon Sugar gets a spiritual successor in Pop, its catchy refrain and recognisable ‘high’ gives way to an addictive ‘pop’ for a maturer, sexier, synth-soaked number.
Sexier is the overwhelming mood of this album. Harry’s Grammy wins and the Bowie comparisons (which he’s happily leaning into) have clearly made him more confident and you can hear it in his voice.
Each of the 12 tracks feels intentional in its inclusion, and while some songs are slower or softer against the disco mood, the album is consistent in quality.
The joy he evidently found in his time away from the studio, visiting every European country he could and simply living his life, radiates from the album.
There’s a lightness here, a sense of momentum and uplift that we sorely need as we haul ourselves out of the winter blues amid a charged political climate.
In this album, Harry is nurturing that fragile but growing optimism, which we’ve seen rearing its head in the past few years. Brat Summer’s reign is finally over; it’s time for Kissco Spring.
Throughout KATTDO, Harry is effortlessly experimental with his songwriting, flipping between catchy tracks with short hooks and repetitive lyrics to more introspective moments, although these are far fewer than on his older records.
Are You Listening Yet sees him test out a more spoken word intro, with cutting lyrics such as ‘your therapist’s well fed’ combined with confident moments where he just lets the music breathe, no words needed.
This track is one of many to feature House Gospel Choir, whose unique blend of (you guessed it) house music and gospel pushes this album from pop-dance into something far more anthemic.
Another highlight is Taste Back, which is arguably the perfect middle ground between the old Harry and this new, freer version. Here, he adopts a tinge of ego to accompany lyrics that are (ahem) a sign of the times and sure to resonate with the situationship generation.
He returns to this theme of transactional relationships – possibly with fans – in Season 2 Weight Loss, singing ‘holding, hoping you will love me now’ with a stylised autotuned vocal, fading away in a soft outro.
But Harry’s mind isn’t just on post-breakup hookups and flirting with strangers as he subverts expectations with Coming Up Roses, a modern waltz.
‘There’s only me and you,’ Harry croons as the orchestra roars behind him. This song was built to be performed live and will undoubtedly be a sleeper favourite among fans.
Strangely, this more emotive number doesn’t feel at odds with the disco tracks, such as Dance No More where the LCD Soundsystem inspiration is evident, they co-exist seamlessly.
Harry manages to skillfully navigate creating a cohesive sound without becoming repetitive or worse, dull. Finally building to Carla’s Song, a credits roll moment with those now familiar synths and stylised vocals.
KATTDO is undeniably seductive, pulling you into Harry’s world without alienating fans who might want to tap their toe in the corner rather than make out in the middle of the dance floor.
There’s a narrative here, not in the traditional sense like West End Girl, but pulled together by the obvious theme of love and the pure joy that can come from exploring that feeling.
It’s a reminder that we can still be messy and revel in that blind optimism of where the night might take you, something we’ve all been missing in the face of late-night venue closures and looking for love on apps.
Kiss All The Time. Disco Occasionally has the makings of an album we’ll look back on in 20 years time as the embodiment of a shift in culture, a promise of hope, and the suggestion that maybe – just maybe – it’s okay to dance like nobody is watching.
Verdict
Harry Styles has taken a big risk with his new sound and it’s absolutely paid off.
If Aperture lets the light in, Kiss All The Time. Disco Occasionally is a full-blinding beam of sunshine. It’s time for Kissco Spring to bloom.
Harry Styles’ new album Kiss All The Time. Disco Occasionally is out on March 6.
Got a story?
If you’ve got a celebrity story, video or pictures get in touch with the Metro.co.uk entertainment team by emailing us celebtips@metro.co.uk, calling 020 3615 2145 or by visiting our Submit Stuff page – we’d love to hear from you.
MORE: I was at the Brit Awards 2026 – here’s everything you didn’t see
MORE: Noel Gallagher stony-faced alongside Harry Styles and Robbie Williams on sombre Brits red carpet
MORE: What time are the Brits 2026, who is performing, and where to watch?