Harry Styles’s much-anticipated fourth studio album, “Kiss All the Time, Disco Occasionally,” has graced listeners’ ears, securing the biggest first-day streams for a 2026 album with 63.05 million streams so far.
As a lifelong fan of Styles, even seeing him in concert twice, I figured I would at least enjoy this record, yet, not everyone is a fan of the new project.
Music review site Pitchfork was not pleased with the album, giving it a 5.6 out of 10, which is still more generous than the 5.3 score from the audience.
“It’s a foregone conclusion, then, that Styles’ entrance into the world of dance music feels a little watery,” the review said.
“Fans looking for their introduction to club hedonism might be surprised to learn that wild, sweaty abandon can be conjured with the same big crash cymbals and plinky guitar lines that have featured on every other Harry Styles record,” the review added.
However, I find the album to be a slow burn—it takes a few listens to truly appreciate the artistry that Styles has poured into the work.
Like many, on the first listen at 1 a.m. on March 6, I would not say I was in love with the work. As a girl who appreciates thoughtful and deep lyrics, hearing the synth-pop music, which at times overpowered what Styles was saying, made me question how I would feel.
Yet, after I got a few more hours of sleep, I awakened with a new appreciation for the work.
Yes, the fast-paced rhythm that occupies most of the tracks is the backbone of the record. But that should not fool audiences who come looking for an introspective album that seeks to deal with loss, love, and moving forward.
Styles has expressed in an interview with Rolling Stone that this album is an accumulation of his experiences from nights out.
“...It’s such a community, but you’re also watching people have such individual experiences,” Styles told Rolling Stone. “I wanted to recreate [what] I had on the dance floor, being lost in the instrumentation and the musicality..”
The record has its strong spots, with very few tracks that I find to be uninteresting. It even holds some of my new favorite Styles' tracks. Here is my honest review of the album, listing the songs in order of their track number, and taking into account their lyrics and beat.
‘Aperture’
As the lead single for the album, “Aperture” continues Styles’s tradition of unconventional singles, following the ambitious “Sign of the Times” from his debut album, “Harry Styles.”
The track opens with a 46-second instrumental driven by synths and heavy drums. While unusually long, the buildup creates anticipation and signals the song’s larger-than-life energy.
The contrast between softly sung verses and a hard-hitting chorus, repeating the line “We belong together,” gives the track its emotional punch.
At over five minutes, “Aperture” is undeniably long for an opener, but its danceable production and dramatic buildup make the runtime feel intentional rather than excessive.
‘American Girls’
“American Girls” is another track that builds anticipation, opening with nearly 30 seconds of piano before the rest of the instrumentation kicks in. It was one of the songs that instantly clicked for me.
As a girl from America, it felt like I had a stake in the song. It’s hard to forget that on “As It Was” from “Harry’s House,” crowds around the world enthusiastically shouted the lyric “leave America.”
That’s why I was pleasantly surprised that the song feels more like an affectionate reflection than a critique. It looks back on Styles' experiences touring and the relationships he formed along the way.
The backtrack is dynamic, and the use of real drums paired with a killer bass line gives the song a rich, driving beat.
Even on first listen, this quickly became one of my favorite tracks—although I might be a little biased.
‘Ready, Steady, Go!’
“Ready, Steady, Go!” takes the energy up another level. If the bass line in “American Girls” was impressive, this track is truly explosive. From the opening moments, the song immediately pulls the listener in.
One standout element is the use of a vocal effect during the choruses, which gives the track a distorted, almost frantic edge that makes it feel unique.
During his Netflix special, "Harry Styles: One Night in Manchester", Styles even used a different microphone during this section of the performance, suggesting he plans to replicate this vocal distortion during future concerts.
The song builds a sense of tension, almost as if Styles is releasing pent-up anxiety. That feeling reaches its peak in the outro, where distant screaming in the background amplifies the chaotic energy.
‘Are You Listening Yet?’
“Are You Listening Yet?” opens with two verses delivered in a conversational, almost spoken style rather than a traditional singing voice.
That introduction quickly shifts into an almost shouty chorus, driven by a fast-paced drumbeat and a sharp guitar line.
These musical choices create tension, giving the listener the feeling that something urgent is building beneath the surface. In the track, Styles seems to be urging listeners to confront their personal struggles and truly hear the message he is delivering.
The repetition of the title in the outro reinforces that theme, drilling home the idea that introspection is necessary.
‘Taste Back’
Another one of my personal favorites, “Taste Back,” features some of Styles’s signature lyricism.
Delivered with soft vocals and a deliberate breath after the opening lines, the song reflects on an ex unexpectedly waltzing back into his life.
The backing vocals during the final repetition of the chorus are almost heavenly, adding emotional depth and conveying the lingering uncertainty in the relationship.
The track has completely grown on me – though maybe it’s because I’ve seen one too many edits of “The Summer I Turned Pretty” set to it.
‘The Waiting Game’
“The Waiting Game” continues the album’s exploration of the frustrations of love.
The music carries a fun synth-driven beat, but beneath that updated sound, Styles reflects on an unhappy relationship dynamic.
He sings earnestly, conveying loneliness and anguish after being emotionally discarded.
The track reveals its emotional core near the end of its almost three-minute runtime, when the production strips away. What remains is a gentle string orchestra and the slow picking of a guitar as the synth fades out, leaving the listener with the song’s quiet aftermath.
‘Season 2 Weight Loss’
“Season 2 Weight Loss” may be interpreted in many ways, but it feels like a reflection of Styles’s nearly two decades in the music industry—and the possibility of feeling aged out.
The repetition of “hoping you will love me now” reinforces the insecurity and vulnerability that runs throughout the album.
After taking a four-year hiatus, with new artists rising and fading in the meantime, Styles returned to an industry that had continued moving without him, raising the question of whether he would remain a dominant voice in pop music.
Yet, through this emotional uncertainty, the song ultimately reflects a desire to return with a renewed purpose.
“So, it’s like this idea of just coming back as like, returning as this is the same character, but suddenly he has cheekbones,” Styles said in an interview with Apple Music's Zane Lowe.
“That was what it was for me, is I felt I was coming back as a stronger version of myself,” Styles added.
The shouty chorus feels like a desperate plea for acceptance that is eventually answered.
‘Coming Up Roses’
“Coming Up Roses” is one of the few true ballads on the album, showing that love – even when it ends – can be a beautiful experience.
The orchestra is beautifully arranged and stands out as one of the highlights of the entire record.
Styles leans into his head voice here, creating an airy, delicate feeling for the listener.
Once again, Styles disguises heartbreak beneath lush instrumentation. While the music feels gentle and hopeful, the lyrics reveal a growing sense of uncertainty about where the relationship is heading.
Although Styles appears to have come to terms with the relationship’s end, the song traces the emotional journey of realizing that conclusion. By the final lines, there is a quiet acceptance that the end is inevitable.
‘Pop’
“Pop” offers a stark musical contrast to the album’s darker, more introspective tracks, taking listeners on the thrill of starting something new.
Everyone knows the feeling of beginning something exciting—whether it is a hobby, a relationship, or a new experience. Styles captures both the uncertainty of the unknown and the excitement that comes with it.
The electric guitar stands out in particular, giving the track a dynamic energy that makes it feel lively and bright.
The chorus is one of my favorites from the entire record. It is a true earworm that I keep replaying in my head.
'Dance No More'
“Dance No More” is one of the reasons for the album’s name and leans into a groovy disco sound.
The track even includes background chatter that places the listener squarely in a club-like environment.
It celebrates the joy of having fun and living life to the fullest.
The electric guitar and synth piano stand out as some of the song's strongest elements, driving its melody and energy forward.
The outro, "respect your mother,” is one of my favorite moments from the entire track.
‘Paint By Numbers’
“Paint By Numbers” carries a beautiful message, but it remains one of my least favorite tracks on the album.
The simple, raw instrumental composition is lovely, yet the verses occasionally feel awkward and off-putting. While I appreciate the song more now than I did on first listen, it will likely take additional time to fully resonate.
Still, Styles's voice shines, conveying the inner turmoil between celebrity life, public perception and a relationship unraveling. The song is ultimately about navigating life and figuring things out.
The trumpets in the outro provide another perfect touch, adding warmth and finality to the track.
‘Carla’s Song’
“Carla’s Song” has completely grown on me since the first listen. I love an ending track that gently fades away – a perfect way to conclude an album – and this song is no exception.
It begins with a simple synth and gradually layers in additional instruments, creating a sense of anticipation as it builds toward the chorus. The next verse is stripped back, allowing Styles to recreate the feeling of tension before the shouty chorus arrives.
The chorus itself, combined with the repetition of the lyrics, serves as the culmination of the excitement Styles builds throughout the track. The drums close out the song, loud and messy, giving it real impact.
As the track and the album draw to a close, the music and vocals slowly fade away, leaving only the synth piano and Styles’s voice, provoking a delicate finish.
Overall, “Kiss All the Time, Disco Occasionally” is a dynamic expression of love, loss, and the joys of life, blending disco and danceable grooves with introspective lyrics. Styles demonstrates his musical versatility and emotional depth, making this album a rewarding experience for longtime fans and newcomers alike. This record leaves a lasting impression, one that invites repeated listens and reflection.
Final review: 9.2/10
Kaelyn Blizard is the assistant editor of The Setonian’s News section. She can be reached at kaelyn.blizard@student.shu.edu.
