Every year the GRAMMY Awards show lets us fan-out over our favorite artists. We can't wait to see what they wear, what they'll perform, and we hope that they'll take home the big prize of the night: a golden gramophone.

Although notably different this year (sorry that you felt a little cold sitting in the socially-distanced space outside, Jacob Collier!), the Biggest Night In Music gave us a bit of a reality check: Artists are fans of artists too. Thanks to the intimate stage setting in which our favorite music stars were able to sit side-stage to experience other performances, we saw them light up as they watched on. These moments made us feel a little closer, especially as the pandemic has forced us to be a part. Here are the moments that made us feel warm inside:

Billie Eilish Swaying to Harry Styles' "Watermelon Sugar" Opening Performance

billie eilish vibing to watermelon sugar by harry styles changed my life pic.twitter.com/A0KxIp9xGb

— rach (@KlWIDREAMS) March 15, 2021

Billie Eilish was among the first to perform at the 2021 GRAMMY Awards show, but not before she got an up-close and personal view of Harry Styles' opening act. Eilish, who took home the coveted "Record Of The Year" award, rocked back and forth with a sweet smile on her face as the British superstar did his thing on stage with his 2020 hit "Watermelon Sugar." 

Watch Harry Styles' full performance here. 

Harry Styles' Reactions To Black Pumas And Billie Eilish On Stage 

We're here for the @Harry_Styles audience reaction shots. ? #Grammys pic.twitter.com/OjE2cks8Re

— ExtraTV (@extratv) March 15, 2021

Styles was one of the night's biggest cheerleaders and had his own moments of admiration for some of the other performers. As Black Pumas gave a soulful performance of "Colors," the Best Pop Solo Performance winner of the night, looked on, singing word for one at one point. He continued the support when Billie Eilish took the stage with an emotive performance of "Everything I wanted." Styles intently watched as Eilish performed one of her biggest hits, showing how much he was feeling it with his head bopping. 

Watch Black Pumas' full performance here and Billie Eilish's full performance here. 

Jhay Cortez and Bad Bunny Grooving To Dua Lipa 

YO CUANDO...... pic.twitter.com/ZIhhUXOkdr

— JHAYCO (@jhaycortez) March 15, 2021

Dua Lipa gave an electrifying performance of her hits "Levitating" and "Don't Start Now," and Jhay Cortez and Bad Bunny were front row to see it. The Puerto Rican superstars had recently stepped off stage when the Best Pop Vocal Album winner of the night took us back to the disco era. The two were seen singing along and showing off their own dance moves.

Watch Dua Lipa's full performance here. 

Megan Thee Stallion's "What Would Beyoncé Do" Moment With Beyonce

While the Hot girl and Bey, didn't step on the stage together, they did have an on-stage moment when they accepted the Best Rap Song GRAMMY Award for the "Savage" remix.

"Ever since I was little, I was like, you know what? One day I'm gonna grow up and I'm going to be like the rap Beyoncé" Megan said. The rapper went on to talk about how much she admires Beyoncé's work ethic and how her late mother would ask her, "Megan, what would Beyoncé do?" Now, Megan asks herself, "What would  Beyoncé do, but let me make it a little ratchet." Watch the touching speech in full above.

10 Must-See Moments From The 2021 GRAMMY Awards Show, From Anderson .Paak To BTS To Megan Thee Stallion

Earlier this year, rapper and reggaetón star Arcángel collaborated with Bizarrap on one of the Argentine producer’s infamous sessions. A huge global hit, the track  — "Bzrp Music Sessions, Vol. 54" — reminded us all of Arcángel’s devilish sense of humor and the brilliant specificity of his flow: languid, sweetly melodic, loaded with inventive wordplay.

At 37, Austin Agustín Santos is a revered veteran of the urbano genre. Born in New York City, he eventually moved to Puerto Rico and experienced his first brush with fame as part of the reggaetón duo Arcángel & De la Ghetto. His first solo effort, 2008’s El Fenómeno, included the smash "Pa’Que La Pases Bien," heralding his affinity for cutting-edge EDM soundscapes. 

Arcángel never lost his Midas touch for generating memorable songs. Last year’s Sr. Santos included "La Jumpa," a kinetic duet with Bad Bunny, and the slick majesty of "PortoBello." Released Nov. 17, his new album, Sentimiento, Elegancia y Más Maldad, boasts high-profile collaborations with Peso Pluma (lead single "La Chamba"), Rauw Alejandro (the EDM-heavy “FP”), Grupo Frontera, Spanish rapper Quevedo, and Feid, among others.

At the 2023 Latin GRAMMYs, Arcángel's "La Jumpa" received nods in the Best Urban Fusion/Performance and Best Urban Song categories; his Bizarrap session and their collaboration, "Bottas" were submitted were submitted as part of BZRP's Producer Of The Year nomination package.

Ahead of the release of his new album, Arcángel spoke with GRAMMY.com about his sophisticated rhymes, the trappings of fame, and the occasional bouts of self-doubt.

The rhymes on your Bizarrap session reference the Tower of Pisa, the shields of the gladiators in the Roman empire, Argentine soccer and luxury cars. How do you come up with this stuff?

It’s something that I’ve been developing since I was a kid. Here in Puerto Rico, we’re big fans of what we call palabreo (non-stop talk.) It’s also my Dominican blood, because people in the Dominican Republic are always making up things. 

When I was growing up, my mother fostered a love for reading in me, so I have a lot of information in my head that I can draw from. For instance, no one had referenced the Tower of Pisa in reggaetón before. I’d say a good 80 percent of reggaetoneros may not even know what the Tower of Pisa is. My mother worked hard so that I could get a good education.

Would you say the uniqueness of your style stems from those early years?

I grew up in a highly competitive environment. In the barrio, it was normal for us to improvise and mock each other in a friendly way. If you showed up with dirty sneakers, someone would rap about it. With so many years of practicing, it became a skill. There was a time when I wouldn’t come up to the barrio if I wasn’t well dressed, because I knew what I had to face. 

You become dexterous at building a reality with words — like an architect. I like everything to make sense in my rhymes. I become obsessive about it. The words don’t necessarily have to rhyme — as long as they have flow, style, and they make sense.

On the video of the Bizarrap session, we also get to witness your hilarious sense of humor. How did that part of your artistic identity develop?

I was raised in an environment marked by poverty, but there was also a lot of joy. We had nothing except for each other. Incredibly, I was happier then. I grew up feeling comfortable in uncomfortable situations, and that’s where my sense of humor comes from. I saw my Mom working two or three jobs so that she could put some food on the table. The only recourse I had to escape that reality was to make jokes and try to have a good time. 

When fortune and fame arrived, they provided a better lifestyle. But they also took away many things that I now miss — things that will never come back.

The last two albums contain some of your best material yet. Would it be fair to say that you’re enjoying a creative high?

The process of making music has become extremely hard for me during the past couple of years. I’m experiencing great success, but it also works as a kind of emotional torture, because my mental health is not the best. My own mind is the most formidable rival. I’m overwhelmed by the fear of not fulfilling the expectations that my fans may have. I’ve felt self-doubt, something that is entirely new to me. 

With all the experience I’ve amassed, I’m now at my most vulnerable. The act of creating felt so easy to me. Now, when the muse departs, it’s difficult to bring her back. Also, I’ve always preferred quality over quantity. Some of my peers are releasing three albums per year. I need to do some living in order to write new songs.

On the new album, the track with Rauw Alejandro (“FP”) is incredibly lush, seeped in atmosphere and EDM texture.

I sing about love because I’m a romantic. And I sing about partying because I definitely did a lot of that — too much, perhaps. [Laughs.] I used to be the kind of person who couldn’t stay home more than three hours. I harbor fond memories of that time — spending days away from home, the ambiance of it all, having a great time. 

When I write songs, I can definitely convince people that I’ve enjoyed all of that. In reality, these days I’m even a bit boring when it comes to partying.

2023 Latin GRAMMYs: See The Complete Nominations List

The Song Of The Year GRAMMY Award honors the best releases in the music business, and the eight nominees for the golden gramophone at the 2024 GRAMMYs come from a variety of established singer/songwriters. From dance anthems to pop bops, ballads and R&B smashes, the nominees for Song Of The Year showcase the breadth of emotions of the past year.

Before tuning into the 2024 GRAMMYs on Sunday, Feb. 4, 2024, learn more about this year's Song Of The Year nominees below.

"A&W" - Lana Del Rey

Songwriters: Jack Antonoff, Lana Del Rey & Sam Dew

The second single from her ninth studio album, Did You Know That There's a Tunnel Under Ocean Blvd, "A&W" is a refreshing addition to Lana Del Rey’s expansive discography.

Another shattered portrait of the American Dream, the seven-minute epic, oscillates from madness to exhaustion, as Del Rey described feeling burned out by being objectified and perceived as an "American whore." What begins as a psychedelic folk ballad erupts into a defiant trap number interpolated with a doo-wop standard by the four-minute mark of the chaotic number.

"I’m a princess, I’m divisive/Ask me why I’m like this/Maybe I just kinda like this," Del Rey anxiously warbles. Later, she expresses her resignation surrounding rape culture: "If I told you that I was raped/ Do you really think that anybody would think/ I didn't ask for it? I didn't ask for it/ I won't testify, I already f—ed up my story."

"Anti-Hero" - Taylor Swift

Songwriters: Jack Antonoff & Taylor Swift

"Anti-Hero" showcased a new side of Taylor Swift — a rare moment where the 33-year-old pop star confronted her flaws in the public eye.

"I really don’t think I’ve delved this far into my insecurities in this detail before," Swift said of the track in an Instagram video. "Not to sound too dark, but, like, I just struggle with the idea of not feeling like a person."

The self-loathing synth-pop anthem — with its cheeky chorus — catapulted "Anti Hero" into virality. With its ubiquitous meaning, the song topped charts and became a staple of pop radio. Now, it’s enjoying the highest praise as a contender for Song Of The Year. 

"Butterfly" - Jon Batiste

Songwriters: Jon Batiste & Dan Wilson

Beyond its sound, what makes Jon Batiste’s "Butterfly" so stunning is the story behind it. The touching jazz-soul fusion track is an iteration of the lullabies Batiste penned while his wife Suleika Jaouad was hospitalized during her cancer treatment.

"It’s just such a personal narrative song in relation to my life and what my family has gone through and my wife and all of the things she’s been able to overcome," the 36-year-old GRAMMY winner told PEOPLE.

"Butterfly" is featured on Batiste's latest album, World Music Radio. Like much of his discography, "Butterfly" is inherently uplifting but there’s an underlying yearning for freedom. "Butterfly in the air/ Where you can fly anywhere/ A sight beyond compare," Batiste croons over stripped-down keys.

"Dance The Night" (From Barbie The Album) - Dua Lipa 

Songwriters: Caroline Ailin, Dua Lipa, Mark Ronson & Andrew Wyatt

With the release of her pop-funk epic Future Nostalgia during the COVID-19 pandemic, Dua Lipa proved she could master the art of escapism. On "Dance The Night," a thrilling dance-pop number from the star-studded Barbie soundtrack, she channels that same inspiration with a side of glitter and glam.

"Greta said that the whole film was inspired by disco. There’s a lot of very glittery and pop moments in it," the 28-year-old singer said of how the track fits into the movie in an interview with Dazed.

Over a sleek synth, the pop star reflects the unwavering joy Barbie outwardly emanates while she’s crumbling inside: "Even when the tears are flowin' like diamonds on my face/I'll still keep the party goin', not one hair out of place (yes, I can)."

"Flowers" - Miley Cyrus

Songwriters: Miley Cyrus, Gregory Aldae Hein & Michael Pollack

Miley Cyrus has perfected the art of reinventing herself. With the post-breakup number "Flowers," she reclaimed her independence and took a hard turn from gritty rock back into pop music. "I can take myself dancing, yeah/ I can hold my own hand/ Yeah, I can love me better than you can," she belts over a disco-pop beat.

While the 30-year-old musician wouldn’t share if "Flowers" was indeed about her ex-husband Liam Hemsworth, the song became an empowering earworm from a more refined version of the longtime musician.

"The song is a little fake it till you make it," she said of "Flowers" in an interview with British Vogue. "Which I’m a big fan of." It turns out she made it with a nomination for Song Of The Year at the 2024 GRAMMY Awards.

"Kill Bill" - SZA

Songwriters: Rob Bisel, Carter Lang & Solána Rowe

On the psychedelic R&B groove of "Kill Bill," which references the legendary Quentin Tarantino film, SZA dreams up her own unfiltered revenge fantasy. "I might kill my ex / Not the best idea / His new girlfriend's next / How'd I get here?" she ponders over an airy melody.

The song stands out on the R&B singer’s latest album, SOS, for not only its cheeky wordplay but for how visceral she portrayed the devastation of a breakup. 

Despite its popularity, the 34-year-old singer initially thought one of the other songs on her 23-track album would have topped the charts. "It's always a song that I don't give a f— about that's just super easy, not the s— that I put so much heart and energy into. 'Kill Bill' was super easy — one take, one night," the singer told Billboard of "Kill Bill’s" success.

"Vampire" - Olivia Rodrigo

Songwriters: Daniel Nigro & Olivia Rodrigo

Like her explosive debut "Drivers License," Olivia Rodrigo opted for a swelling power ballad for the lead single of her sophomore album Guts. On "Vampire," the singer/songwriter recalls a parasitic relationship with a swelling power ballad that erupts into a booming guitar breakdown. "Bloodsucker, famef—er/ Bleedin' me dry, like a goddamn vampire," she sings with a bitter lilt.

While many speculated the song was about a toxic relationship, Rodrigo claimed it’s more nuanced than that. "It’s more about my regret and kind of beating myself up for doing something that I knew wasn’t gonna turn out great and kind of just taking ownership of that and dealing with those feelings," she told Sirius XM Hits 1.

Regardless, the 20-year-old artist turned something bitter into something sweet by landing a Song Of The Year nomination.

"What Was I Made For?" [From The Motion Picture "Barbie"] - Billie Eilish

Songwriters: Billie Eilish O'Connell & Finneas O'Connell

Not only was the Barbie movie a massive hit, its soundtrack was, too, thanks to a slew of chart-topping artists including Dua Lipa, HAIM and Sam Smith. So it’s no surprise that Billie Eilish made that list as well, and delivered a gutting ballad that soundtracked one of the most heartbreaking moments of the film.

The wistful single, which arrives at the devastating realization that you’re not real and are instead meant to be consumed, aptly embodies the narrative arc of the box office smash. "Looked so alive, turns out I'm not real/ Just something you paid for/ What was I made for," the 21-year-old musician sings with a heartbreaking lilt. 

While writing the sobering number, Eilish tried to embody the essence of the life-sized doll herself. "I was purely inspired by this movie and this character and the way I thought she would feel, and wrote about that," she told Zane Lowe of Apple Music. 

The 2024 GRAMMYs, officially known as the 66th GRAMMY Awards, returns to Los Angeles' Crypto.com Arena on Sunday, Feb. 4, 2024, and will broadcast live on the CBS Television Network and stream live and on-demand on Paramount+ at 8-11:30 p.m. ET/5-8:30 p.m. PT.

The Recording Academy and GRAMMY.com do not endorse any particular artist, submission or nominee over another. The results of the GRAMMY Awards, including winners and nominees, are solely dependent on the Recording Academy’s Voting Membership.

2024 GRAMMY Nominations: See The Full Nominees List

Throughout the past year, Miley Cyrus, Billie Eilish, Olivia Rodrigo and Taylor Swift delivered inescapable pop anthems, while Victoria Monét and SZA proved that R&B deserves a place in the spotlight. Jon Batiste continued to evolve his artistry, while indie supergroup boygenius made an anticipated comeback.

With so many standout moments, the golden gramophone Record Of The Year — which is awarded to the artist and the producer(s), recording engineer(s) and/or mixer(s) and mastering engineer(s) — is shaping up to be a thrilling contest at the 2024 GRAMMYs, officially known as the 66th GRAMMY Awards.

Before tuning into the 2024 GRAMMYs on Feb. 4, 2024, learn more about this year's Record Of The Year nominees below.

Jon Batiste - "Worship" 

Jon Batiste has been revered for his refreshing take on jazz, but the multi-instrumentalist showed that his talents stretch beyond the genre on his seventh album, World Music Radio.

Album highlight "Worship" encapsulates the LP’s message of unification and community by fusing various global sounds. The song is quite the joyride, beginning with bellowing organs before a choir joins with a glorious harmony and finally explodes with a Latin samba party. "We are born the same / Return to that place" Batiste repeats throughout the song, driving home his inclusive mission.

"Worship" is a joyous anthem and, following his Album Of The Year win at the 2023 GRAMMYs for We Are, it’s clear the five-time GRAMMY winner is keeping the celebration going.

boygenius -"Not Strong Enough"  

Nearly five years after boygenius released their debut self-titled EP, the trio of Julien Baker, Phoebe Bridgers and Lucy Dacus returned again with a full-length, The Record. 

The LP beautifully captured just how well the women rockers work together, and their chemistry is best seen in "Not Strong Enough." The single’s lush harmonies and feather-light guitars are a contrast to the candid lyricism, which attempts to juggle insecurities and having a God complex. 

"The two wolves inside us can be self-hatred and self-aggrandizing," Bridgers explained to Rolling Stone. "Being like, ‘I’m not strong enough to show up for you. I can’t be the partner that you want me to be.’ But also being like, ‘I’m too f—ed up. I’m unknowable in some deep way!’"

"Not Strong Enough" marks a career milestone for boygenius, as it's the group’s first nomination for Record Of The Year.

Miley Cyrus - "Flowers"  

A truly great pop star knows how to make a break-up anthem for the ages. Miley Cyrus already had a few under her belt, but she kicked off the year with her strongest offering to date.

"Flowers" was suggested to be inspired by Cyrus’ divorce from Liam Hemsworth, but the song’s messaging goes well beyond the singer’s personal life. Many can relate to having to pick up the pieces of a broken heart, but Cyrus’ confident vocals paired with the soaring disco-inspired melody reassure that self-love is the ultimate healer.

"The chorus was originally: ‘I can buy myself flowers, write my name in the sand, but I can’t love me better than you can,’" the singer told British Vogue of the song’s original lyrics. "It used to be more, like, 1950s. The saddest song. Like: ‘Sure, I can be my own lover, but you’re so much better.’" 

The subtle decision to flip the "can’t" into a "can" showcases the brilliance of Cyrus’ songwriting, which ultimately makes the meaning of "Flowers" that much more empowering.

Billie Eilish & FINNEAS - "What Was I Made For?" 

The Barbie movie was arguably this year’s biggest pop culture phenomenon, so of course the soundtrack had equally big names. But among the midst of fast-paced and glittery pop songs, Billie Eilish’s contribution tugged at heartstrings. The seven-time GRAMMY winner teamed with her brother and go-to collaborator FINNEAS for "What Was I Made For?"

It’s a tender, melancholic ballad that ties in the movie’s themes of autonomy and balancing feminism in a patriarchal world, with Eilish still holding on to hope: "I don’t know how to feel / But someday I might." The song reflects a universal experience for many women, including Eilish herself — although she didn’t realize it at first. 

​​"I was purely inspired by this movie and this character and the way I thought she would feel and wrote about that," Eilish told Zane Lowe for Apple Music 1. "Over the next couple days, I was listening and [realized] I was writing for myself and I don’t even know it." That relatability is one of the beauties of music, for listeners and artists alike.

Victoria Monét - "On My Mama"  

Victoria Monét has a long songwriting history, penning hits for the likes of Brandy, BLACKPINK, Chloe x Halle and longtime friend Ariana Grande. And while she’s released solo music in the past, her debut album Jaguar II cements her place within R&B’s new crop of stars. Third single "On My Mama" took the scene by storm, bringing together millennials and Gen Z’s shared love of ‘00s nostalgia. 

Sampling Chalie Boy’s 2009 song "I Look Good" and lined with Monét’s signature horns, the song is a celebration of Black southern culture. As Monét described it on "The Ebro Show" on Apple Music 1, "It’s an anthem for affirmations, positive self-talk, manifestations, living in abundance, [and] speaking things into existence."

Olivia Rodrigo - "Vampire" 

What makes Olivia Rodrigo a captivating artist is her honesty. Her ability to capture her generation’s emotional nature is why 2021’s debut album Sour took pop music by storm (and also made her a three-time GRAMMY winner). And she’s continued the movement with "Vampire", the lead single from her sophomore album, Guts. 

The song is a red herring of sorts, beginning with melancholic piano keys that often kickstart the singer’s tunes. But rather than shed tears, she unleashes the fury of a woman scorned, dishing out insults to a manipulative ex-lover that ripped her heart out. "Bloodsucker, famef—er / Bleedin' me dry, like a goddamn vampire" she seethes on the chorus. The best revenge is always served cold.

Taylor Swift - "Anti-Hero" 

Taylor Swift has grown to be even more self-aware as her status ascends. She knows being a pop superstar comes with its challenges, and “Anti-Hero” reveals the woman behind the glitzy veil. Inspired by her nightmares, the chart-topping smash from tTaylor Swift has become even more self aware as her status ascends. She knows being a pop superstar comes with its challenges, and "Anti-Hero" reveals the woman behind the glitzy veil.

Inspired by her nightmares, the chart-topping smash from the 12-time GRAMMY winner’s tenth album Midnights is a personal journal into feelings of self-doubt and anxiety. But in natural Swift fashion, the dark lyricism is anchored by hopeful pop synths courtesy of longtime collaborator and co-producer Jack Antonoff. The video heightens the song’s themes, as Swift confronts various versions of her former selves.

"We all hate things about ​​ourselves, and it's all of those aspects of the things we dislike and like about ourselves that we have to come to terms with if we're going to be this person," Swift shared with fans on Instagram. That refreshing honesty is what makes "Anti-Hero" one of the singer’s most successful songs to date.

SZA - "Kill Bill"  

Leave it to SZA to make murder sound so sweet. On SOS standout single "Kill Bill," the singer takes a page from director Quentin Tarantino by nodding to his 2003 film, as she lives out her vengeful fantasies. 

The GRAMMY winner’s raging jealousy landed "Kill Bill" atop the Billboard Hot 100, making it her first-ever solo No.1 hit. SZA brought the fatal single to life with a cinematic music video, which pays homage to Kill Bill with fierce action scenes and  an appearance from Vivica A. Fox, who starred as a Deadly Viper and Thurman's enemy Vernita Green in the film.

"I've never raged the way that I should have. This is my villain era, and I'm very comfortable with that," the singer shared with Glamour about her album’s themes. "It is in the way I say no. It's in the f–ked up things that I don't apologize for." And with lyrics like "I did all of this sober" on "Kill Bill," you have no choice but to believe her.

2024 GRAMMY Nominations: See The Full Nominees List

Throughout his career, Harry Styles has proven that his music defies categorization. From his poppier days with One Direction to the more rock- and funk-inspired sounds of his solo music, every song and album have been a testament to his ongoing evolution as an artist.

His three solo albums thus far — 2017's Harry Styles, 2019's Fine Line, and 2022's Harry's House — have explored soft rock, psychedelic pop, and synth-pop. With such genre-fluid diversity in his discography, there's something for everyone to indulge in.

Styles' genre-blending techniques have undeniably made him a household name. The past two years solidified that, whether through his 169-show Love On Tour or his Album Of The Year win for Harry's House at the 2023 GRAMMYs. 

Though Styles has remained relatively quiet since the Love On Tour wrapped in July, he surely has fans anticipating his next move. For now, take a look at 10 Harry Styles tracks that illustrate the versatility and creativity that's helped him go from boy band member to solo sensation.

"Over Again," Take Me Home (2013)

A deep cut from One Direction's second album, Take Me Home, "Over Again" features an impressive solo from a then-19-year-old Styles. This song takes listeners on a nostalgic journey, looking back to the happier days of an ill-fated relationship, yearning for the ability to rewind time to a point before the love story unraveled.

Styles' emotionally charged vocal delivery accentuates and intensifies the profound sense of melancholy that is being relayed in the song. The depth in Styles' voice invites the audience to connect and empathize with the song's heartbroken narrative — a trait that still permeates in his solo ballads today. 

"Clouds," FOUR (2014)

Styles highlights his vocal prowess in a different way on One Direction's youthful FOUR cut "Clouds." Not only did it feature extensive, powerful vocal runs, but it also showcased the rock sensibilities of his voice. "Clouds" diverted from 1D's traditional pop sound and ventured into a more guitar-driven style, incorporating rock elements and arguably foreshadowing the sounds of Styles' debut album released three years later.

"Sign of the Times," Harry Styles (2017)

Styles kicked off his solo journey in bold fashion: a nearly six-minute ballad. The cinematic, '70s rock-inspired "Sign of the Times" presented a stark departure from his previous work with One Direction, hinting that he was more than ready to evolve musically on his own.

The release of the song marked a turning point in Styles' career, enabling him to embrace a more mature sound and gain credibility as a solo artist. His continued exploration of genres is a trait that Styles has carried into his later projects, ultimately establishing his status as a genre-fluid artist.

"Kiwi," Harry Styles (2017)

One of Styles' boldest steps into the rock genre, "Kiwi" tells a story about a rebellious and free-spirited girl who captures Styles' attention, despite knowing she's no good for him. In this lively track, Styles trades polished pop for unfiltered rock vocals, showcasing an edgier side he hadn't displayed in his boy band days — both lyrically and sonically.

The song's dynamic energy is further amplified by the rich supply of classic rock-inspired guitar grooves. While Styles hasn't revisited the raw sound of "Kiwi" much since, it serves as a reminder that he can tackle any creative technique he desires.

"Watermelon Sugar," Fine Line (2019)

One could argue that "Watermelon Sugar" is a perfectly crafted pop song: refreshing guitar grooves, a lively instrumental, sultry harmonized vocals. In fact, it's so flawless, it earned Styles his first GRAMMY in 2021 for Best Pop Solo Performance.

That's just one way the Fine Line single marked a pivotal moment in Styles' career. It also became his first No. 1 single on the Billboard Hot 100, proving that he has staying power as a pop star in his own right. And as one of two songs with more than 2 billion Spotify streams alone, "Watermelon Sugar" has also proven to be a Harry Styles classic. 

"Falling," Fine Line (2019)

One of Styles' most gut-wrenching tracks, "Falling" offers an introspective take on heartbreak. The haunting piano-driven melody emphasizes the pain in Styles' voice as he realizes his harmful habits caused him to lose a lover.

The song's emotional transparency and stripped-down vocals make it one of his most emotionally mature tracks, as well as one of his most captivating. While the track is Styles' lowest-charting single to date (it reached No. 62 on the Hot 100), "Falling" has proven itself to be a fan favorite, with more than 1 billion streams on Spotify. 

"Fine Line," Fine Line (2019)

Despite being the title track, "Fine Line" isn't just a deep cut from Styles' acclaimed 2019 album, it's an outlier in his whole discography — but in a beautiful way. The song is largely instrumental, with a lonely, yet emotionally-charged energy that highlights Styles' stunning falsetto.

In an interview with Capital FM, Styles cited a connection between the song's lyrics and his feelings throughout the album-making process; with the closing lyrics echoing, "We'll be alright," the song sheds light on the apprehension that often accompanies embarking on a new creative journey. The message foreshadowed Styles' subsequent ventures after the record's release, including a step into acting and the exploration of a new sound in Harry's House.

"As It Was," Harry's House (2022)

The lead single for Harry's House, "As It Was" served as Styles' first plunge into the synth-pop genre, which carried throughout the project. Despite the track's buoyant melody, its true essence conveys a more gloomy narrative. Styles explores the idea that nothing remains the same once being put into the limelight — a poignant message from one of pop's biggest stars.

Along with introducing a new sound for Styles, the brilliantly juxtaposing track also cemented him as a bonafide superstar. After "As It Was" debuted at No. 1 on the Hot 100 in April 2022, it reigned for 15 weeks, marking the most for a British artist in the chart's history. It was also a chart titan in Styles' home country, becoming the longest-running No. 1 and best-selling single of 2022 on the UK Singles Chart. What's more, it helped Styles earn his first Record Of The Year GRAMMY nomination, and undoubtedly contributed to his Album Of The Year win at the 2023 GRAMMYs.

"Late Night Talking," Harry's House (2022)

Taking the synth-pop of "As It Was" into the '80s, "Late Night Talking" blends retro-inspired vocal distortions and groovy instrumentation. Yet, somehow, it has a timeless groove that still feels contemporary — a skill that has become a Styles trademark.

The single had big shoes to fill as it followed the smash hit "As It Was" but it fiercely proved that Styles' had room for multiple hit songs under his belt. "Late Night Talking" landed the No. 1 spot on Billboard's Pop Airplay Chart and No. 3 on the Hot 100 Chart.

"Matilda," Harry's House (2022)

One of Harry's House's few somber tracks, "Matilda" instantly became another fan favorite in his catalog. As he gently sings over plucked guitar instrumentals, he comforts someone who feels out of place within their family at home ("You don't have to be sorry for leavin' and growin' up," he sings in the chorus).

While Styles has delivered plenty of tender moments, the storytelling and emotion of "Matilda" arguably helps it stand as his most thoughtful composition to date. Although it remains as an album cut, "Matilda" is further proof that Styles' has mastered the skill of making music that resonates with listeners — whether he's compelling them to shed tears or dance along.

Harry Styles' Sonic Evolution: How He Grew From Teen Pop Idol To Ever-Evolving Superstar