Despite his popularity, Styles’ latest album lacks originality when compared to other 2022 contenders
The 2022 Mercury Prize saw a stellar array of nominees, from Little Simz’s audacious Sometimes I Might Be Introvert to Sam Fender’s socially conscious Seventeen Going Under, and Gwenno’s evocative Tresor. Yet, one name on the shortlist raised eyebrows: Harry Styles.
While Styles’ desire for artistic acclaim following his boyband days is understandable, his efforts in this direction fall short. His solo career has been marked by an almost overwhelming reliance on the sounds and styles of his musical idols, rather than developing a unique voice of his own. From his debut album, where he made overt references to Elton John, The Beatles, and Prince, Styles has often seemed more like a musical magpie, collecting influences rather than creating something truly original.
This tendency persists on Harry’s House, where the title itself references Joni Mitchell’s 1975 song “Harry’s House / Centrepiece”, but Styles’ interpretation feels hollow in comparison. The record, with its careful blend of Seventies and Eighties sounds, lacks the emotional depth and spontaneity found in Mitchell’s work. The polished brass of “Music for a Sushi Restaurant” and the easygoing vibe of “Daydreaming” feel calculated and uninspired. There’s a sense of detachment, in stark contrast to the raw energy of contemporaries like Little Simz or Yard Act, whose music feels more urgent and alive.
One could argue that all music is influenced by what came before it, but Styles’ approach seems to lack the inventiveness that would elevate these influences into something fresh. Where Ed Sheeran is often criticised for leaning heavily on his musical inspirations, Styles somehow escapes similar scrutiny, despite his tracks feeling like weak imitations of superior artists. He doesn’t seem to offer much beyond what we’ve already heard from the likes of Bowie or Prince, leaving him with no discernible sound of his own.
Moreover, Styles’ lyrical content often falls flat. His songs, such as “Cinema”, offer little substance, with shallow lines that fail to captivate. His attempt to express deep emotions or offer profound commentary is hindered by a lack of clarity or depth, a problem that extends beyond his music into his public persona. In interviews, Styles often appears unfocused, such as his cringeworthy comments during the Don’t Worry Darling press tour, which raised doubts about his engagement with the art he creates.
Ultimately, while Styles has undeniable star power and a loyal fanbase, his inclusion on the Mercury Prize shortlist feels more like a result of his fame than his musical innovation. His brand of slick, stylistic pop offers little in the way of originality when compared to the bold, genre-defying work of his fellow nominees. For all its charm, Harry’s House is a record with style, but precious little substance.
