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Harry Styles' 'Kiwi' Music Video Is a Food Fight Fantasy

Harry Styles' 'Kiwi' Music Video Is a Food Fight Fantasy


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Our favorite eye-candy plays with his food

Harry Styles gets messy in an all-dessert food fight with his pretend classroom in the music video for “Kiwi.”

Harry Styles has released the music video for his song “Kiwi”, and it features a full-fledged all-dessert food fight complete with cakes, cookies, and pastries. The song, which in fact makes no mention of kiwis at all, plays while an all-out food-flinging war unfolds between many young students in a school gymnasium.

The shots of layer cakes decorated with swirls and gobs of frosting are mouthwatering as they lie in wait to be destroyed by the many tiny hands. The young scholars gesticulate wildly at each other from across the room until the final member of the group appears with a tray of homemade blue frosted cupcakes in her arms.

The group of children then go about flinging the treats at one another and artfully demolishing the gorgeous looking desserts with their hands and mouths (as many of the children seem to take nibbles of the cakes and frostings). Suddenly, the sweetest treat of all — Styles, who seems to be a teacher or some form of authority figure at the school — appears, holding many puppies in his arms. Then the heartthrob, the puppies, and the children all continue to play with their food.

Hilariously, the video appears to parody a scene from Dunkirk, Styles’ recent film debut. In one shot, a child splattered with pink frosting lies across the lap of another child, who holds him in his arms — just a little in-joke for Styles’ fans.

The video concludes with a stern-looking Harry standing with his cake-covered class, posing as if for a school photo. Hopefully Mr. Styles was educating his pretend class on something like a history of food and video games — maybe that could explain the brutal but delicious-looking warfare.


Harry Styles's New Album Is Outrageously Good

Confident and vulnerable, Fine Line, redefines manhood for the 2020s.

People as famous as Harry Styles are almost never alone. From the cadre of security guards, stylists, publicists, managers, and hangers-on, a small army necessarily follows wherever they go. As irony dictates, though, fame, especially on the level that Styles has experienced since One Direction became the only thing young girls cared about in 2010, is curiously isolating. And while the 25-year-old often appears remarkably at ease with his surroundings&mdashhis dimpled smile never falters, not even at the apex of 1D&rsquos fandemonium&mdasha poignant fear of loneliness courses through Styles's magnificent second album, Fine Line, out now.

&ldquoI don&rsquot wanna be alone,&rdquo the singer admits on the shimmying album-opener &ldquoGolden.&rdquo Belying the warm tones of the accompanying slide-guitar, glockenspiel, and summery da-da-da backing vocals, he continues: &ldquoDon&rsquot wanna let you know,&rdquo he sings, comfortable and in the center of his range, &ldquoI don&rsquot wanna be alone/But I can feel it take a hold.&rdquo On &ldquoTo Be So Lonely,&rdquo driven by a toe-tapping double cello bass rhythm, he&rsquos drunk and desperate to fill the void. &ldquoDon&rsquot blame the drunk caller,&rdquo he begs an ex-lover. &ldquoI wasn&rsquot ready for it all.&rdquo Later, on the same cut, he explains. &ldquoIt&rsquos hard for me to go home/And be so lonely."

It&rsquos a startling one-two punch of vulnerability from the 21 st century's emergent rock god. In an age of highly curated Instagram feeds and meticulously managed celebrity images, he&rsquos dedicated the LP to &ldquoall that I&rsquove done. The good and the bad.&rdquo &ldquoThat is life,&rdquo he writes in the collection&rsquos liner notes. Styles may be talking about the mixed bag of experiences that define reality, but the same could be said of Fine Line. A candid autobiography written in technicolor rock n&rsquo roll, it&rsquos an album about Becoming and across its 12 songs, bears remarkable witness to a young man in the middle of self-reckoning.

The singer landed his first surprise back in 2017 with his self-titled solo debut. The easy-rolling set bucked the very established path set by Justin Timberlake and boybanders going solo, like Nick Jonas and Styles&rsquo former group groupmate, Zayn Malik: embrace R&B and hip-hop, immediately assert that yes, you have sex. Lots of it. Instead, Styles dressed his introspective musings in the trappings of 1970s soft-rock. The results were enthralling, as he confidently toyed with &ldquoBlackbird&rdquo-era Beatles and Bowie.

Fine Line is less concerned about honoring Styles's idols, though, and more interested in experimenting with the furthest corners of his curiosity. Save for an appearance from Greg Kurstin (Beck, Adele), who lends a hand to the transcendent &ldquoSunflower, Vol. 6,&rdquo many of his cohorts are familiar from Harry Styles: super-producer Jeff Bhasker, one of the main architects of the Hot 100&rsquos current sound via his work with Bruno Mars, Kanye West, Katy Perry, and a wide swath of others songwriter-producer (and Bhasker acolyte) Tyler Johnson (Taylor Swift, Cam) and Kid Harpoon (Florence + the Machine, Maggie Rogers). Together they find a thrilling new sonic terrain&mdashone where gooey Fleetwood Mac-style melodies get wrapped in mille-feuille-esque layers of synth, Crosby, Stills, & Nash-reminiscent acoustic strummers get sandwiched between psychedelic trips to fantasy land, and electric-sitar solos scream of yesterday and tomorrow.

Put more simply, it&rsquos fun as hell.

It&rsquos also full of tantalizing lyrical Easter eggs, for those (many!) fans who crave them. &ldquoI just miss your accent and your friends,&rdquo he laments on &ldquoCherry,&rdquo the set standout, which makes a chugging folk-electronica hybrid sound inevitable, undeniable. If there was any doubt that he was mourning the demise of his relationship with Paris-born model Camille Rowe, who Styles reportedly dated for about a year, the song&rsquos coda&mdasha recording of her cooing in French&mdashswiftly settles it. He follows with the regret-soaked &ldquoFalling,&rdquo a moving lullaby of self-realization. &ldquoAnd there&rsquos no one to blame but the drink and my wandering hands,&rdquo he confides early about his break-up. &ldquoWhat am I now?/What if I'm someone I don't want around?&rdquo he sings repeatedly throughout the chorus. &ldquoWhat if I&rsquom someone you won't talk about?,&rdquo he adds, his voice reaching its desperate edge as the song peaks.

It&rsquos an almost impossible insecurity to consider, as all we want is more.


Harry Styles's New Album Is Outrageously Good

Confident and vulnerable, Fine Line, redefines manhood for the 2020s.

People as famous as Harry Styles are almost never alone. From the cadre of security guards, stylists, publicists, managers, and hangers-on, a small army necessarily follows wherever they go. As irony dictates, though, fame, especially on the level that Styles has experienced since One Direction became the only thing young girls cared about in 2010, is curiously isolating. And while the 25-year-old often appears remarkably at ease with his surroundings&mdashhis dimpled smile never falters, not even at the apex of 1D&rsquos fandemonium&mdasha poignant fear of loneliness courses through Styles's magnificent second album, Fine Line, out now.

&ldquoI don&rsquot wanna be alone,&rdquo the singer admits on the shimmying album-opener &ldquoGolden.&rdquo Belying the warm tones of the accompanying slide-guitar, glockenspiel, and summery da-da-da backing vocals, he continues: &ldquoDon&rsquot wanna let you know,&rdquo he sings, comfortable and in the center of his range, &ldquoI don&rsquot wanna be alone/But I can feel it take a hold.&rdquo On &ldquoTo Be So Lonely,&rdquo driven by a toe-tapping double cello bass rhythm, he&rsquos drunk and desperate to fill the void. &ldquoDon&rsquot blame the drunk caller,&rdquo he begs an ex-lover. &ldquoI wasn&rsquot ready for it all.&rdquo Later, on the same cut, he explains. &ldquoIt&rsquos hard for me to go home/And be so lonely."

It&rsquos a startling one-two punch of vulnerability from the 21 st century's emergent rock god. In an age of highly curated Instagram feeds and meticulously managed celebrity images, he&rsquos dedicated the LP to &ldquoall that I&rsquove done. The good and the bad.&rdquo &ldquoThat is life,&rdquo he writes in the collection&rsquos liner notes. Styles may be talking about the mixed bag of experiences that define reality, but the same could be said of Fine Line. A candid autobiography written in technicolor rock n&rsquo roll, it&rsquos an album about Becoming and across its 12 songs, bears remarkable witness to a young man in the middle of self-reckoning.

The singer landed his first surprise back in 2017 with his self-titled solo debut. The easy-rolling set bucked the very established path set by Justin Timberlake and boybanders going solo, like Nick Jonas and Styles&rsquo former group groupmate, Zayn Malik: embrace R&B and hip-hop, immediately assert that yes, you have sex. Lots of it. Instead, Styles dressed his introspective musings in the trappings of 1970s soft-rock. The results were enthralling, as he confidently toyed with &ldquoBlackbird&rdquo-era Beatles and Bowie.

Fine Line is less concerned about honoring Styles's idols, though, and more interested in experimenting with the furthest corners of his curiosity. Save for an appearance from Greg Kurstin (Beck, Adele), who lends a hand to the transcendent &ldquoSunflower, Vol. 6,&rdquo many of his cohorts are familiar from Harry Styles: super-producer Jeff Bhasker, one of the main architects of the Hot 100&rsquos current sound via his work with Bruno Mars, Kanye West, Katy Perry, and a wide swath of others songwriter-producer (and Bhasker acolyte) Tyler Johnson (Taylor Swift, Cam) and Kid Harpoon (Florence + the Machine, Maggie Rogers). Together they find a thrilling new sonic terrain&mdashone where gooey Fleetwood Mac-style melodies get wrapped in mille-feuille-esque layers of synth, Crosby, Stills, & Nash-reminiscent acoustic strummers get sandwiched between psychedelic trips to fantasy land, and electric-sitar solos scream of yesterday and tomorrow.

Put more simply, it&rsquos fun as hell.

It&rsquos also full of tantalizing lyrical Easter eggs, for those (many!) fans who crave them. &ldquoI just miss your accent and your friends,&rdquo he laments on &ldquoCherry,&rdquo the set standout, which makes a chugging folk-electronica hybrid sound inevitable, undeniable. If there was any doubt that he was mourning the demise of his relationship with Paris-born model Camille Rowe, who Styles reportedly dated for about a year, the song&rsquos coda&mdasha recording of her cooing in French&mdashswiftly settles it. He follows with the regret-soaked &ldquoFalling,&rdquo a moving lullaby of self-realization. &ldquoAnd there&rsquos no one to blame but the drink and my wandering hands,&rdquo he confides early about his break-up. &ldquoWhat am I now?/What if I'm someone I don't want around?&rdquo he sings repeatedly throughout the chorus. &ldquoWhat if I&rsquom someone you won't talk about?,&rdquo he adds, his voice reaching its desperate edge as the song peaks.

It&rsquos an almost impossible insecurity to consider, as all we want is more.


Harry Styles's New Album Is Outrageously Good

Confident and vulnerable, Fine Line, redefines manhood for the 2020s.

People as famous as Harry Styles are almost never alone. From the cadre of security guards, stylists, publicists, managers, and hangers-on, a small army necessarily follows wherever they go. As irony dictates, though, fame, especially on the level that Styles has experienced since One Direction became the only thing young girls cared about in 2010, is curiously isolating. And while the 25-year-old often appears remarkably at ease with his surroundings&mdashhis dimpled smile never falters, not even at the apex of 1D&rsquos fandemonium&mdasha poignant fear of loneliness courses through Styles's magnificent second album, Fine Line, out now.

&ldquoI don&rsquot wanna be alone,&rdquo the singer admits on the shimmying album-opener &ldquoGolden.&rdquo Belying the warm tones of the accompanying slide-guitar, glockenspiel, and summery da-da-da backing vocals, he continues: &ldquoDon&rsquot wanna let you know,&rdquo he sings, comfortable and in the center of his range, &ldquoI don&rsquot wanna be alone/But I can feel it take a hold.&rdquo On &ldquoTo Be So Lonely,&rdquo driven by a toe-tapping double cello bass rhythm, he&rsquos drunk and desperate to fill the void. &ldquoDon&rsquot blame the drunk caller,&rdquo he begs an ex-lover. &ldquoI wasn&rsquot ready for it all.&rdquo Later, on the same cut, he explains. &ldquoIt&rsquos hard for me to go home/And be so lonely."

It&rsquos a startling one-two punch of vulnerability from the 21 st century's emergent rock god. In an age of highly curated Instagram feeds and meticulously managed celebrity images, he&rsquos dedicated the LP to &ldquoall that I&rsquove done. The good and the bad.&rdquo &ldquoThat is life,&rdquo he writes in the collection&rsquos liner notes. Styles may be talking about the mixed bag of experiences that define reality, but the same could be said of Fine Line. A candid autobiography written in technicolor rock n&rsquo roll, it&rsquos an album about Becoming and across its 12 songs, bears remarkable witness to a young man in the middle of self-reckoning.

The singer landed his first surprise back in 2017 with his self-titled solo debut. The easy-rolling set bucked the very established path set by Justin Timberlake and boybanders going solo, like Nick Jonas and Styles&rsquo former group groupmate, Zayn Malik: embrace R&B and hip-hop, immediately assert that yes, you have sex. Lots of it. Instead, Styles dressed his introspective musings in the trappings of 1970s soft-rock. The results were enthralling, as he confidently toyed with &ldquoBlackbird&rdquo-era Beatles and Bowie.

Fine Line is less concerned about honoring Styles's idols, though, and more interested in experimenting with the furthest corners of his curiosity. Save for an appearance from Greg Kurstin (Beck, Adele), who lends a hand to the transcendent &ldquoSunflower, Vol. 6,&rdquo many of his cohorts are familiar from Harry Styles: super-producer Jeff Bhasker, one of the main architects of the Hot 100&rsquos current sound via his work with Bruno Mars, Kanye West, Katy Perry, and a wide swath of others songwriter-producer (and Bhasker acolyte) Tyler Johnson (Taylor Swift, Cam) and Kid Harpoon (Florence + the Machine, Maggie Rogers). Together they find a thrilling new sonic terrain&mdashone where gooey Fleetwood Mac-style melodies get wrapped in mille-feuille-esque layers of synth, Crosby, Stills, & Nash-reminiscent acoustic strummers get sandwiched between psychedelic trips to fantasy land, and electric-sitar solos scream of yesterday and tomorrow.

Put more simply, it&rsquos fun as hell.

It&rsquos also full of tantalizing lyrical Easter eggs, for those (many!) fans who crave them. &ldquoI just miss your accent and your friends,&rdquo he laments on &ldquoCherry,&rdquo the set standout, which makes a chugging folk-electronica hybrid sound inevitable, undeniable. If there was any doubt that he was mourning the demise of his relationship with Paris-born model Camille Rowe, who Styles reportedly dated for about a year, the song&rsquos coda&mdasha recording of her cooing in French&mdashswiftly settles it. He follows with the regret-soaked &ldquoFalling,&rdquo a moving lullaby of self-realization. &ldquoAnd there&rsquos no one to blame but the drink and my wandering hands,&rdquo he confides early about his break-up. &ldquoWhat am I now?/What if I'm someone I don't want around?&rdquo he sings repeatedly throughout the chorus. &ldquoWhat if I&rsquom someone you won't talk about?,&rdquo he adds, his voice reaching its desperate edge as the song peaks.

It&rsquos an almost impossible insecurity to consider, as all we want is more.


Harry Styles's New Album Is Outrageously Good

Confident and vulnerable, Fine Line, redefines manhood for the 2020s.

People as famous as Harry Styles are almost never alone. From the cadre of security guards, stylists, publicists, managers, and hangers-on, a small army necessarily follows wherever they go. As irony dictates, though, fame, especially on the level that Styles has experienced since One Direction became the only thing young girls cared about in 2010, is curiously isolating. And while the 25-year-old often appears remarkably at ease with his surroundings&mdashhis dimpled smile never falters, not even at the apex of 1D&rsquos fandemonium&mdasha poignant fear of loneliness courses through Styles's magnificent second album, Fine Line, out now.

&ldquoI don&rsquot wanna be alone,&rdquo the singer admits on the shimmying album-opener &ldquoGolden.&rdquo Belying the warm tones of the accompanying slide-guitar, glockenspiel, and summery da-da-da backing vocals, he continues: &ldquoDon&rsquot wanna let you know,&rdquo he sings, comfortable and in the center of his range, &ldquoI don&rsquot wanna be alone/But I can feel it take a hold.&rdquo On &ldquoTo Be So Lonely,&rdquo driven by a toe-tapping double cello bass rhythm, he&rsquos drunk and desperate to fill the void. &ldquoDon&rsquot blame the drunk caller,&rdquo he begs an ex-lover. &ldquoI wasn&rsquot ready for it all.&rdquo Later, on the same cut, he explains. &ldquoIt&rsquos hard for me to go home/And be so lonely."

It&rsquos a startling one-two punch of vulnerability from the 21 st century's emergent rock god. In an age of highly curated Instagram feeds and meticulously managed celebrity images, he&rsquos dedicated the LP to &ldquoall that I&rsquove done. The good and the bad.&rdquo &ldquoThat is life,&rdquo he writes in the collection&rsquos liner notes. Styles may be talking about the mixed bag of experiences that define reality, but the same could be said of Fine Line. A candid autobiography written in technicolor rock n&rsquo roll, it&rsquos an album about Becoming and across its 12 songs, bears remarkable witness to a young man in the middle of self-reckoning.

The singer landed his first surprise back in 2017 with his self-titled solo debut. The easy-rolling set bucked the very established path set by Justin Timberlake and boybanders going solo, like Nick Jonas and Styles&rsquo former group groupmate, Zayn Malik: embrace R&B and hip-hop, immediately assert that yes, you have sex. Lots of it. Instead, Styles dressed his introspective musings in the trappings of 1970s soft-rock. The results were enthralling, as he confidently toyed with &ldquoBlackbird&rdquo-era Beatles and Bowie.

Fine Line is less concerned about honoring Styles's idols, though, and more interested in experimenting with the furthest corners of his curiosity. Save for an appearance from Greg Kurstin (Beck, Adele), who lends a hand to the transcendent &ldquoSunflower, Vol. 6,&rdquo many of his cohorts are familiar from Harry Styles: super-producer Jeff Bhasker, one of the main architects of the Hot 100&rsquos current sound via his work with Bruno Mars, Kanye West, Katy Perry, and a wide swath of others songwriter-producer (and Bhasker acolyte) Tyler Johnson (Taylor Swift, Cam) and Kid Harpoon (Florence + the Machine, Maggie Rogers). Together they find a thrilling new sonic terrain&mdashone where gooey Fleetwood Mac-style melodies get wrapped in mille-feuille-esque layers of synth, Crosby, Stills, & Nash-reminiscent acoustic strummers get sandwiched between psychedelic trips to fantasy land, and electric-sitar solos scream of yesterday and tomorrow.

Put more simply, it&rsquos fun as hell.

It&rsquos also full of tantalizing lyrical Easter eggs, for those (many!) fans who crave them. &ldquoI just miss your accent and your friends,&rdquo he laments on &ldquoCherry,&rdquo the set standout, which makes a chugging folk-electronica hybrid sound inevitable, undeniable. If there was any doubt that he was mourning the demise of his relationship with Paris-born model Camille Rowe, who Styles reportedly dated for about a year, the song&rsquos coda&mdasha recording of her cooing in French&mdashswiftly settles it. He follows with the regret-soaked &ldquoFalling,&rdquo a moving lullaby of self-realization. &ldquoAnd there&rsquos no one to blame but the drink and my wandering hands,&rdquo he confides early about his break-up. &ldquoWhat am I now?/What if I'm someone I don't want around?&rdquo he sings repeatedly throughout the chorus. &ldquoWhat if I&rsquom someone you won't talk about?,&rdquo he adds, his voice reaching its desperate edge as the song peaks.

It&rsquos an almost impossible insecurity to consider, as all we want is more.


Harry Styles's New Album Is Outrageously Good

Confident and vulnerable, Fine Line, redefines manhood for the 2020s.

People as famous as Harry Styles are almost never alone. From the cadre of security guards, stylists, publicists, managers, and hangers-on, a small army necessarily follows wherever they go. As irony dictates, though, fame, especially on the level that Styles has experienced since One Direction became the only thing young girls cared about in 2010, is curiously isolating. And while the 25-year-old often appears remarkably at ease with his surroundings&mdashhis dimpled smile never falters, not even at the apex of 1D&rsquos fandemonium&mdasha poignant fear of loneliness courses through Styles's magnificent second album, Fine Line, out now.

&ldquoI don&rsquot wanna be alone,&rdquo the singer admits on the shimmying album-opener &ldquoGolden.&rdquo Belying the warm tones of the accompanying slide-guitar, glockenspiel, and summery da-da-da backing vocals, he continues: &ldquoDon&rsquot wanna let you know,&rdquo he sings, comfortable and in the center of his range, &ldquoI don&rsquot wanna be alone/But I can feel it take a hold.&rdquo On &ldquoTo Be So Lonely,&rdquo driven by a toe-tapping double cello bass rhythm, he&rsquos drunk and desperate to fill the void. &ldquoDon&rsquot blame the drunk caller,&rdquo he begs an ex-lover. &ldquoI wasn&rsquot ready for it all.&rdquo Later, on the same cut, he explains. &ldquoIt&rsquos hard for me to go home/And be so lonely."

It&rsquos a startling one-two punch of vulnerability from the 21 st century's emergent rock god. In an age of highly curated Instagram feeds and meticulously managed celebrity images, he&rsquos dedicated the LP to &ldquoall that I&rsquove done. The good and the bad.&rdquo &ldquoThat is life,&rdquo he writes in the collection&rsquos liner notes. Styles may be talking about the mixed bag of experiences that define reality, but the same could be said of Fine Line. A candid autobiography written in technicolor rock n&rsquo roll, it&rsquos an album about Becoming and across its 12 songs, bears remarkable witness to a young man in the middle of self-reckoning.

The singer landed his first surprise back in 2017 with his self-titled solo debut. The easy-rolling set bucked the very established path set by Justin Timberlake and boybanders going solo, like Nick Jonas and Styles&rsquo former group groupmate, Zayn Malik: embrace R&B and hip-hop, immediately assert that yes, you have sex. Lots of it. Instead, Styles dressed his introspective musings in the trappings of 1970s soft-rock. The results were enthralling, as he confidently toyed with &ldquoBlackbird&rdquo-era Beatles and Bowie.

Fine Line is less concerned about honoring Styles's idols, though, and more interested in experimenting with the furthest corners of his curiosity. Save for an appearance from Greg Kurstin (Beck, Adele), who lends a hand to the transcendent &ldquoSunflower, Vol. 6,&rdquo many of his cohorts are familiar from Harry Styles: super-producer Jeff Bhasker, one of the main architects of the Hot 100&rsquos current sound via his work with Bruno Mars, Kanye West, Katy Perry, and a wide swath of others songwriter-producer (and Bhasker acolyte) Tyler Johnson (Taylor Swift, Cam) and Kid Harpoon (Florence + the Machine, Maggie Rogers). Together they find a thrilling new sonic terrain&mdashone where gooey Fleetwood Mac-style melodies get wrapped in mille-feuille-esque layers of synth, Crosby, Stills, & Nash-reminiscent acoustic strummers get sandwiched between psychedelic trips to fantasy land, and electric-sitar solos scream of yesterday and tomorrow.

Put more simply, it&rsquos fun as hell.

It&rsquos also full of tantalizing lyrical Easter eggs, for those (many!) fans who crave them. &ldquoI just miss your accent and your friends,&rdquo he laments on &ldquoCherry,&rdquo the set standout, which makes a chugging folk-electronica hybrid sound inevitable, undeniable. If there was any doubt that he was mourning the demise of his relationship with Paris-born model Camille Rowe, who Styles reportedly dated for about a year, the song&rsquos coda&mdasha recording of her cooing in French&mdashswiftly settles it. He follows with the regret-soaked &ldquoFalling,&rdquo a moving lullaby of self-realization. &ldquoAnd there&rsquos no one to blame but the drink and my wandering hands,&rdquo he confides early about his break-up. &ldquoWhat am I now?/What if I'm someone I don't want around?&rdquo he sings repeatedly throughout the chorus. &ldquoWhat if I&rsquom someone you won't talk about?,&rdquo he adds, his voice reaching its desperate edge as the song peaks.

It&rsquos an almost impossible insecurity to consider, as all we want is more.


Harry Styles's New Album Is Outrageously Good

Confident and vulnerable, Fine Line, redefines manhood for the 2020s.

People as famous as Harry Styles are almost never alone. From the cadre of security guards, stylists, publicists, managers, and hangers-on, a small army necessarily follows wherever they go. As irony dictates, though, fame, especially on the level that Styles has experienced since One Direction became the only thing young girls cared about in 2010, is curiously isolating. And while the 25-year-old often appears remarkably at ease with his surroundings&mdashhis dimpled smile never falters, not even at the apex of 1D&rsquos fandemonium&mdasha poignant fear of loneliness courses through Styles's magnificent second album, Fine Line, out now.

&ldquoI don&rsquot wanna be alone,&rdquo the singer admits on the shimmying album-opener &ldquoGolden.&rdquo Belying the warm tones of the accompanying slide-guitar, glockenspiel, and summery da-da-da backing vocals, he continues: &ldquoDon&rsquot wanna let you know,&rdquo he sings, comfortable and in the center of his range, &ldquoI don&rsquot wanna be alone/But I can feel it take a hold.&rdquo On &ldquoTo Be So Lonely,&rdquo driven by a toe-tapping double cello bass rhythm, he&rsquos drunk and desperate to fill the void. &ldquoDon&rsquot blame the drunk caller,&rdquo he begs an ex-lover. &ldquoI wasn&rsquot ready for it all.&rdquo Later, on the same cut, he explains. &ldquoIt&rsquos hard for me to go home/And be so lonely."

It&rsquos a startling one-two punch of vulnerability from the 21 st century's emergent rock god. In an age of highly curated Instagram feeds and meticulously managed celebrity images, he&rsquos dedicated the LP to &ldquoall that I&rsquove done. The good and the bad.&rdquo &ldquoThat is life,&rdquo he writes in the collection&rsquos liner notes. Styles may be talking about the mixed bag of experiences that define reality, but the same could be said of Fine Line. A candid autobiography written in technicolor rock n&rsquo roll, it&rsquos an album about Becoming and across its 12 songs, bears remarkable witness to a young man in the middle of self-reckoning.

The singer landed his first surprise back in 2017 with his self-titled solo debut. The easy-rolling set bucked the very established path set by Justin Timberlake and boybanders going solo, like Nick Jonas and Styles&rsquo former group groupmate, Zayn Malik: embrace R&B and hip-hop, immediately assert that yes, you have sex. Lots of it. Instead, Styles dressed his introspective musings in the trappings of 1970s soft-rock. The results were enthralling, as he confidently toyed with &ldquoBlackbird&rdquo-era Beatles and Bowie.

Fine Line is less concerned about honoring Styles's idols, though, and more interested in experimenting with the furthest corners of his curiosity. Save for an appearance from Greg Kurstin (Beck, Adele), who lends a hand to the transcendent &ldquoSunflower, Vol. 6,&rdquo many of his cohorts are familiar from Harry Styles: super-producer Jeff Bhasker, one of the main architects of the Hot 100&rsquos current sound via his work with Bruno Mars, Kanye West, Katy Perry, and a wide swath of others songwriter-producer (and Bhasker acolyte) Tyler Johnson (Taylor Swift, Cam) and Kid Harpoon (Florence + the Machine, Maggie Rogers). Together they find a thrilling new sonic terrain&mdashone where gooey Fleetwood Mac-style melodies get wrapped in mille-feuille-esque layers of synth, Crosby, Stills, & Nash-reminiscent acoustic strummers get sandwiched between psychedelic trips to fantasy land, and electric-sitar solos scream of yesterday and tomorrow.

Put more simply, it&rsquos fun as hell.

It&rsquos also full of tantalizing lyrical Easter eggs, for those (many!) fans who crave them. &ldquoI just miss your accent and your friends,&rdquo he laments on &ldquoCherry,&rdquo the set standout, which makes a chugging folk-electronica hybrid sound inevitable, undeniable. If there was any doubt that he was mourning the demise of his relationship with Paris-born model Camille Rowe, who Styles reportedly dated for about a year, the song&rsquos coda&mdasha recording of her cooing in French&mdashswiftly settles it. He follows with the regret-soaked &ldquoFalling,&rdquo a moving lullaby of self-realization. &ldquoAnd there&rsquos no one to blame but the drink and my wandering hands,&rdquo he confides early about his break-up. &ldquoWhat am I now?/What if I'm someone I don't want around?&rdquo he sings repeatedly throughout the chorus. &ldquoWhat if I&rsquom someone you won't talk about?,&rdquo he adds, his voice reaching its desperate edge as the song peaks.

It&rsquos an almost impossible insecurity to consider, as all we want is more.


Harry Styles's New Album Is Outrageously Good

Confident and vulnerable, Fine Line, redefines manhood for the 2020s.

People as famous as Harry Styles are almost never alone. From the cadre of security guards, stylists, publicists, managers, and hangers-on, a small army necessarily follows wherever they go. As irony dictates, though, fame, especially on the level that Styles has experienced since One Direction became the only thing young girls cared about in 2010, is curiously isolating. And while the 25-year-old often appears remarkably at ease with his surroundings&mdashhis dimpled smile never falters, not even at the apex of 1D&rsquos fandemonium&mdasha poignant fear of loneliness courses through Styles's magnificent second album, Fine Line, out now.

&ldquoI don&rsquot wanna be alone,&rdquo the singer admits on the shimmying album-opener &ldquoGolden.&rdquo Belying the warm tones of the accompanying slide-guitar, glockenspiel, and summery da-da-da backing vocals, he continues: &ldquoDon&rsquot wanna let you know,&rdquo he sings, comfortable and in the center of his range, &ldquoI don&rsquot wanna be alone/But I can feel it take a hold.&rdquo On &ldquoTo Be So Lonely,&rdquo driven by a toe-tapping double cello bass rhythm, he&rsquos drunk and desperate to fill the void. &ldquoDon&rsquot blame the drunk caller,&rdquo he begs an ex-lover. &ldquoI wasn&rsquot ready for it all.&rdquo Later, on the same cut, he explains. &ldquoIt&rsquos hard for me to go home/And be so lonely."

It&rsquos a startling one-two punch of vulnerability from the 21 st century's emergent rock god. In an age of highly curated Instagram feeds and meticulously managed celebrity images, he&rsquos dedicated the LP to &ldquoall that I&rsquove done. The good and the bad.&rdquo &ldquoThat is life,&rdquo he writes in the collection&rsquos liner notes. Styles may be talking about the mixed bag of experiences that define reality, but the same could be said of Fine Line. A candid autobiography written in technicolor rock n&rsquo roll, it&rsquos an album about Becoming and across its 12 songs, bears remarkable witness to a young man in the middle of self-reckoning.

The singer landed his first surprise back in 2017 with his self-titled solo debut. The easy-rolling set bucked the very established path set by Justin Timberlake and boybanders going solo, like Nick Jonas and Styles&rsquo former group groupmate, Zayn Malik: embrace R&B and hip-hop, immediately assert that yes, you have sex. Lots of it. Instead, Styles dressed his introspective musings in the trappings of 1970s soft-rock. The results were enthralling, as he confidently toyed with &ldquoBlackbird&rdquo-era Beatles and Bowie.

Fine Line is less concerned about honoring Styles's idols, though, and more interested in experimenting with the furthest corners of his curiosity. Save for an appearance from Greg Kurstin (Beck, Adele), who lends a hand to the transcendent &ldquoSunflower, Vol. 6,&rdquo many of his cohorts are familiar from Harry Styles: super-producer Jeff Bhasker, one of the main architects of the Hot 100&rsquos current sound via his work with Bruno Mars, Kanye West, Katy Perry, and a wide swath of others songwriter-producer (and Bhasker acolyte) Tyler Johnson (Taylor Swift, Cam) and Kid Harpoon (Florence + the Machine, Maggie Rogers). Together they find a thrilling new sonic terrain&mdashone where gooey Fleetwood Mac-style melodies get wrapped in mille-feuille-esque layers of synth, Crosby, Stills, & Nash-reminiscent acoustic strummers get sandwiched between psychedelic trips to fantasy land, and electric-sitar solos scream of yesterday and tomorrow.

Put more simply, it&rsquos fun as hell.

It&rsquos also full of tantalizing lyrical Easter eggs, for those (many!) fans who crave them. &ldquoI just miss your accent and your friends,&rdquo he laments on &ldquoCherry,&rdquo the set standout, which makes a chugging folk-electronica hybrid sound inevitable, undeniable. If there was any doubt that he was mourning the demise of his relationship with Paris-born model Camille Rowe, who Styles reportedly dated for about a year, the song&rsquos coda&mdasha recording of her cooing in French&mdashswiftly settles it. He follows with the regret-soaked &ldquoFalling,&rdquo a moving lullaby of self-realization. &ldquoAnd there&rsquos no one to blame but the drink and my wandering hands,&rdquo he confides early about his break-up. &ldquoWhat am I now?/What if I'm someone I don't want around?&rdquo he sings repeatedly throughout the chorus. &ldquoWhat if I&rsquom someone you won't talk about?,&rdquo he adds, his voice reaching its desperate edge as the song peaks.

It&rsquos an almost impossible insecurity to consider, as all we want is more.


Harry Styles's New Album Is Outrageously Good

Confident and vulnerable, Fine Line, redefines manhood for the 2020s.

People as famous as Harry Styles are almost never alone. From the cadre of security guards, stylists, publicists, managers, and hangers-on, a small army necessarily follows wherever they go. As irony dictates, though, fame, especially on the level that Styles has experienced since One Direction became the only thing young girls cared about in 2010, is curiously isolating. And while the 25-year-old often appears remarkably at ease with his surroundings&mdashhis dimpled smile never falters, not even at the apex of 1D&rsquos fandemonium&mdasha poignant fear of loneliness courses through Styles's magnificent second album, Fine Line, out now.

&ldquoI don&rsquot wanna be alone,&rdquo the singer admits on the shimmying album-opener &ldquoGolden.&rdquo Belying the warm tones of the accompanying slide-guitar, glockenspiel, and summery da-da-da backing vocals, he continues: &ldquoDon&rsquot wanna let you know,&rdquo he sings, comfortable and in the center of his range, &ldquoI don&rsquot wanna be alone/But I can feel it take a hold.&rdquo On &ldquoTo Be So Lonely,&rdquo driven by a toe-tapping double cello bass rhythm, he&rsquos drunk and desperate to fill the void. &ldquoDon&rsquot blame the drunk caller,&rdquo he begs an ex-lover. &ldquoI wasn&rsquot ready for it all.&rdquo Later, on the same cut, he explains. &ldquoIt&rsquos hard for me to go home/And be so lonely."

It&rsquos a startling one-two punch of vulnerability from the 21 st century's emergent rock god. In an age of highly curated Instagram feeds and meticulously managed celebrity images, he&rsquos dedicated the LP to &ldquoall that I&rsquove done. The good and the bad.&rdquo &ldquoThat is life,&rdquo he writes in the collection&rsquos liner notes. Styles may be talking about the mixed bag of experiences that define reality, but the same could be said of Fine Line. A candid autobiography written in technicolor rock n&rsquo roll, it&rsquos an album about Becoming and across its 12 songs, bears remarkable witness to a young man in the middle of self-reckoning.

The singer landed his first surprise back in 2017 with his self-titled solo debut. The easy-rolling set bucked the very established path set by Justin Timberlake and boybanders going solo, like Nick Jonas and Styles&rsquo former group groupmate, Zayn Malik: embrace R&B and hip-hop, immediately assert that yes, you have sex. Lots of it. Instead, Styles dressed his introspective musings in the trappings of 1970s soft-rock. The results were enthralling, as he confidently toyed with &ldquoBlackbird&rdquo-era Beatles and Bowie.

Fine Line is less concerned about honoring Styles's idols, though, and more interested in experimenting with the furthest corners of his curiosity. Save for an appearance from Greg Kurstin (Beck, Adele), who lends a hand to the transcendent &ldquoSunflower, Vol. 6,&rdquo many of his cohorts are familiar from Harry Styles: super-producer Jeff Bhasker, one of the main architects of the Hot 100&rsquos current sound via his work with Bruno Mars, Kanye West, Katy Perry, and a wide swath of others songwriter-producer (and Bhasker acolyte) Tyler Johnson (Taylor Swift, Cam) and Kid Harpoon (Florence + the Machine, Maggie Rogers). Together they find a thrilling new sonic terrain&mdashone where gooey Fleetwood Mac-style melodies get wrapped in mille-feuille-esque layers of synth, Crosby, Stills, & Nash-reminiscent acoustic strummers get sandwiched between psychedelic trips to fantasy land, and electric-sitar solos scream of yesterday and tomorrow.

Put more simply, it&rsquos fun as hell.

It&rsquos also full of tantalizing lyrical Easter eggs, for those (many!) fans who crave them. &ldquoI just miss your accent and your friends,&rdquo he laments on &ldquoCherry,&rdquo the set standout, which makes a chugging folk-electronica hybrid sound inevitable, undeniable. If there was any doubt that he was mourning the demise of his relationship with Paris-born model Camille Rowe, who Styles reportedly dated for about a year, the song&rsquos coda&mdasha recording of her cooing in French&mdashswiftly settles it. He follows with the regret-soaked &ldquoFalling,&rdquo a moving lullaby of self-realization. &ldquoAnd there&rsquos no one to blame but the drink and my wandering hands,&rdquo he confides early about his break-up. &ldquoWhat am I now?/What if I'm someone I don't want around?&rdquo he sings repeatedly throughout the chorus. &ldquoWhat if I&rsquom someone you won't talk about?,&rdquo he adds, his voice reaching its desperate edge as the song peaks.

It&rsquos an almost impossible insecurity to consider, as all we want is more.


Harry Styles's New Album Is Outrageously Good

Confident and vulnerable, Fine Line, redefines manhood for the 2020s.

People as famous as Harry Styles are almost never alone. From the cadre of security guards, stylists, publicists, managers, and hangers-on, a small army necessarily follows wherever they go. As irony dictates, though, fame, especially on the level that Styles has experienced since One Direction became the only thing young girls cared about in 2010, is curiously isolating. And while the 25-year-old often appears remarkably at ease with his surroundings&mdashhis dimpled smile never falters, not even at the apex of 1D&rsquos fandemonium&mdasha poignant fear of loneliness courses through Styles's magnificent second album, Fine Line, out now.

&ldquoI don&rsquot wanna be alone,&rdquo the singer admits on the shimmying album-opener &ldquoGolden.&rdquo Belying the warm tones of the accompanying slide-guitar, glockenspiel, and summery da-da-da backing vocals, he continues: &ldquoDon&rsquot wanna let you know,&rdquo he sings, comfortable and in the center of his range, &ldquoI don&rsquot wanna be alone/But I can feel it take a hold.&rdquo On &ldquoTo Be So Lonely,&rdquo driven by a toe-tapping double cello bass rhythm, he&rsquos drunk and desperate to fill the void. &ldquoDon&rsquot blame the drunk caller,&rdquo he begs an ex-lover. &ldquoI wasn&rsquot ready for it all.&rdquo Later, on the same cut, he explains. &ldquoIt&rsquos hard for me to go home/And be so lonely."

It&rsquos a startling one-two punch of vulnerability from the 21 st century's emergent rock god. In an age of highly curated Instagram feeds and meticulously managed celebrity images, he&rsquos dedicated the LP to &ldquoall that I&rsquove done. The good and the bad.&rdquo &ldquoThat is life,&rdquo he writes in the collection&rsquos liner notes. Styles may be talking about the mixed bag of experiences that define reality, but the same could be said of Fine Line. A candid autobiography written in technicolor rock n&rsquo roll, it&rsquos an album about Becoming and across its 12 songs, bears remarkable witness to a young man in the middle of self-reckoning.

The singer landed his first surprise back in 2017 with his self-titled solo debut. The easy-rolling set bucked the very established path set by Justin Timberlake and boybanders going solo, like Nick Jonas and Styles&rsquo former group groupmate, Zayn Malik: embrace R&B and hip-hop, immediately assert that yes, you have sex. Lots of it. Instead, Styles dressed his introspective musings in the trappings of 1970s soft-rock. The results were enthralling, as he confidently toyed with &ldquoBlackbird&rdquo-era Beatles and Bowie.

Fine Line is less concerned about honoring Styles's idols, though, and more interested in experimenting with the furthest corners of his curiosity. Save for an appearance from Greg Kurstin (Beck, Adele), who lends a hand to the transcendent &ldquoSunflower, Vol. 6,&rdquo many of his cohorts are familiar from Harry Styles: super-producer Jeff Bhasker, one of the main architects of the Hot 100&rsquos current sound via his work with Bruno Mars, Kanye West, Katy Perry, and a wide swath of others songwriter-producer (and Bhasker acolyte) Tyler Johnson (Taylor Swift, Cam) and Kid Harpoon (Florence + the Machine, Maggie Rogers). Together they find a thrilling new sonic terrain&mdashone where gooey Fleetwood Mac-style melodies get wrapped in mille-feuille-esque layers of synth, Crosby, Stills, & Nash-reminiscent acoustic strummers get sandwiched between psychedelic trips to fantasy land, and electric-sitar solos scream of yesterday and tomorrow.

Put more simply, it&rsquos fun as hell.

It&rsquos also full of tantalizing lyrical Easter eggs, for those (many!) fans who crave them. &ldquoI just miss your accent and your friends,&rdquo he laments on &ldquoCherry,&rdquo the set standout, which makes a chugging folk-electronica hybrid sound inevitable, undeniable. If there was any doubt that he was mourning the demise of his relationship with Paris-born model Camille Rowe, who Styles reportedly dated for about a year, the song&rsquos coda&mdasha recording of her cooing in French&mdashswiftly settles it. He follows with the regret-soaked &ldquoFalling,&rdquo a moving lullaby of self-realization. &ldquoAnd there&rsquos no one to blame but the drink and my wandering hands,&rdquo he confides early about his break-up. &ldquoWhat am I now?/What if I'm someone I don't want around?&rdquo he sings repeatedly throughout the chorus. &ldquoWhat if I&rsquom someone you won't talk about?,&rdquo he adds, his voice reaching its desperate edge as the song peaks.

It&rsquos an almost impossible insecurity to consider, as all we want is more.


Harry Styles's New Album Is Outrageously Good

Confident and vulnerable, Fine Line, redefines manhood for the 2020s.

People as famous as Harry Styles are almost never alone. From the cadre of security guards, stylists, publicists, managers, and hangers-on, a small army necessarily follows wherever they go. As irony dictates, though, fame, especially on the level that Styles has experienced since One Direction became the only thing young girls cared about in 2010, is curiously isolating. And while the 25-year-old often appears remarkably at ease with his surroundings&mdashhis dimpled smile never falters, not even at the apex of 1D&rsquos fandemonium&mdasha poignant fear of loneliness courses through Styles's magnificent second album, Fine Line, out now.

&ldquoI don&rsquot wanna be alone,&rdquo the singer admits on the shimmying album-opener &ldquoGolden.&rdquo Belying the warm tones of the accompanying slide-guitar, glockenspiel, and summery da-da-da backing vocals, he continues: &ldquoDon&rsquot wanna let you know,&rdquo he sings, comfortable and in the center of his range, &ldquoI don&rsquot wanna be alone/But I can feel it take a hold.&rdquo On &ldquoTo Be So Lonely,&rdquo driven by a toe-tapping double cello bass rhythm, he&rsquos drunk and desperate to fill the void. &ldquoDon&rsquot blame the drunk caller,&rdquo he begs an ex-lover. &ldquoI wasn&rsquot ready for it all.&rdquo Later, on the same cut, he explains. &ldquoIt&rsquos hard for me to go home/And be so lonely."

It&rsquos a startling one-two punch of vulnerability from the 21 st century's emergent rock god. In an age of highly curated Instagram feeds and meticulously managed celebrity images, he&rsquos dedicated the LP to &ldquoall that I&rsquove done. The good and the bad.&rdquo &ldquoThat is life,&rdquo he writes in the collection&rsquos liner notes. Styles may be talking about the mixed bag of experiences that define reality, but the same could be said of Fine Line. A candid autobiography written in technicolor rock n&rsquo roll, it&rsquos an album about Becoming and across its 12 songs, bears remarkable witness to a young man in the middle of self-reckoning.

The singer landed his first surprise back in 2017 with his self-titled solo debut. The easy-rolling set bucked the very established path set by Justin Timberlake and boybanders going solo, like Nick Jonas and Styles&rsquo former group groupmate, Zayn Malik: embrace R&B and hip-hop, immediately assert that yes, you have sex. Lots of it. Instead, Styles dressed his introspective musings in the trappings of 1970s soft-rock. The results were enthralling, as he confidently toyed with &ldquoBlackbird&rdquo-era Beatles and Bowie.

Fine Line is less concerned about honoring Styles's idols, though, and more interested in experimenting with the furthest corners of his curiosity. Save for an appearance from Greg Kurstin (Beck, Adele), who lends a hand to the transcendent &ldquoSunflower, Vol. 6,&rdquo many of his cohorts are familiar from Harry Styles: super-producer Jeff Bhasker, one of the main architects of the Hot 100&rsquos current sound via his work with Bruno Mars, Kanye West, Katy Perry, and a wide swath of others songwriter-producer (and Bhasker acolyte) Tyler Johnson (Taylor Swift, Cam) and Kid Harpoon (Florence + the Machine, Maggie Rogers). Together they find a thrilling new sonic terrain&mdashone where gooey Fleetwood Mac-style melodies get wrapped in mille-feuille-esque layers of synth, Crosby, Stills, & Nash-reminiscent acoustic strummers get sandwiched between psychedelic trips to fantasy land, and electric-sitar solos scream of yesterday and tomorrow.

Put more simply, it&rsquos fun as hell.

It&rsquos also full of tantalizing lyrical Easter eggs, for those (many!) fans who crave them. &ldquoI just miss your accent and your friends,&rdquo he laments on &ldquoCherry,&rdquo the set standout, which makes a chugging folk-electronica hybrid sound inevitable, undeniable. If there was any doubt that he was mourning the demise of his relationship with Paris-born model Camille Rowe, who Styles reportedly dated for about a year, the song&rsquos coda&mdasha recording of her cooing in French&mdashswiftly settles it. He follows with the regret-soaked &ldquoFalling,&rdquo a moving lullaby of self-realization. &ldquoAnd there&rsquos no one to blame but the drink and my wandering hands,&rdquo he confides early about his break-up. &ldquoWhat am I now?/What if I'm someone I don't want around?&rdquo he sings repeatedly throughout the chorus. &ldquoWhat if I&rsquom someone you won't talk about?,&rdquo he adds, his voice reaching its desperate edge as the song peaks.

It&rsquos an almost impossible insecurity to consider, as all we want is more.


Watch the video: Harry Styles - Kiwi Karaoke Version (May 2022).