Harry Styles’s self-titled debut album was good, but it left fans totally unprepared for “Fine Line.” In fact, apart from Styles’s distinctive vocals, it’s sometimes hard to believe that both albums are by the same artist. Compared with the rich production and engaging lyrics of “Fine Line,” the first album, “Harry Styles,” appears sparse and even immature. It’s exciting to see Styles undergo such a dramatic evolution in just two albums. Something has changed - and “Fine Line” is the captivating product.

The album starts off with a bang with “Golden,” as the quiet intro bursts into atmospheric harmonies and a chugging groove. Styles sings about a new relationship and seems excited yet nervous about what it will bring. The overall feel is hopeful, and the listener wants to cheer him on. From there, it’s on to the chill summer vibes of “Watermelon Sugar.” This song ambles along in no particular hurry, savoring those “strawberries on a summer evening.” What makes the song, though, is the unexpected funkification of the second verse onward, aided by a bombastic horn section. The third song, “Adore You,” may be most familiar to listeners, due to its frequent radioplay. While a bit repetitive and blatantly more pop than Styles fans are accustomed to, it’s definitely funky and danceable. Number four, “Lights Up,” is a masterpiece. The groovy verse flows into a subdued pre-chorus and then into an almost gospel-like refrain. Music theory lovers will appreciate the ambiguous “blue note” in the pre-chorus. 

With “Cherry” and “Falling,” the record begins to falter, though it quickly resurfaces. “Cherry” is somewhat reminiscent of Styles’s debut, though in this case that’s not a compliment. The song has its high points, such as the lovely harmonies in the chorus and bridge, but is rather dull overall. The random sampling of Styles noodling on a guitar while his ex-girlfriend speaks in French doesn’t help. “Falling” is an attempt at an emotional ballad, with little to distinguish it from similar songs. It will likely be remembered as just another slow, sad, pop track.

Fortunately, the quality picks up again in the album’s second half. The playful feel of “To Be So Lonely” masks a compelling duality in the lyrics. Styles wants to dismiss his partner’s concerns, cockily crooning, “You can’t blame me, darlin’/Not even a little bit.” And yet in the same verse, he acknowledges that he has been “arrogant” and “can’t admit when he’s sorry.” Track number eight, “She,” is a slow rocker, much like “Woman” from his debut. “She” is a vast improvement from its sometimes draggy predecessor, however. It tells the story of an unhappy man bored with his life as an office worker. To cope, he daydreams of life with an ideal – and very imaginary – woman. The song culminates in a classic-rock-style jam session that runs about six minutes. Rest assured, however, those six minutes will not be wasted.

“Sunflower, Vol. 6” is possibly the best track on the album, combining a reggae feel with modern pop instrumentation and superbly detailed production. The song is, at different times, reminiscent of both summer pop and the schmaltzier repertoire of Queen. It is great fun; Styles even throws in some of his trademark whoops, yelps, and onomatopoeic shouts toward the end. The layered production ensures listeners will continue uncovering hidden new sounds within it for a while.

“Canyon Moon” is lovely, upbeat, and folksy featuring an uncommon instrument in pop music: the dulcimer. The vocal harmonies build all the way up to a satisfying conclusion.

“Treat People with Kindness” is equal parts gospel, ABBA, and old-fashioned rock-n’-roll and wholly a good time. It is a rollicking and uplifting number, reminding listeners to be kind to others. The final song, “Fine Line,” is a fitting end to the album. It starts tenderly as Styles sings, “Put a price on emotion/I’m looking for something to buy.” The song crescendos, then surges into a triumphant blaze of glory. Trumpets play, backed by rolling marching drums, as Styles shouts, “We’ll be a fine line/We’ll be all right.” This summarizes a sentiment reflected throughout the album: Life is complicated, and it is not always easy to tell right from wrong. But in the end – at least we can hope – it will be okay. The song (and the album) ends with a simple piano chord, played twice for finality. The effect is as satisfying as the final, “never-ending” piano chord in The Beatles’ classic, “A Day in the Life.” Styles leaves us on a tender note by playing the chord as quietly as possible. It is cathartic, leaving listeners to sit back and contemplate everything they just heard.

Overall, “Fine Line” is a wonderful album that exceeds all expectations set by its predecessor. It is candid while not being maudlin and maintains good fun with a sense of humor. It is a unique and exciting listen for those with an open mind. Listeners will come away impressed and eagerly anticipating whatever Styles dishes up next.