Blowing the roof off

Harry Styles

Harry’s House

Like the Judy Garland song, pretty much every woman I know is just wild about Harry – and it’s easy to see why.

The Redditch-born pop idol, whose musical influences are as wide as his trouser legs, takes us back to the future with his stunning third album.

Harry’s House is fresh, joyous and constantly surprising. Despite taking its title from a Joni Mitchell song, the dominant influences are old-school soul.

When the trumpet blasts in on the funky opener, Music For A Sushi Restaurant, you’d be forgiven for thinking Aitch has coaxed the fabled Phenix Horns out of retirement. Late Night Talking delivers smooth, danceable soul-pop, as Styles pledges his undying love to actress/director girlfriend Olivia Wilde, promising to follow her to “Hollywood or Bishopsgate” (that’s commitment!).

“If you’re feeling down,” he coos softly, “I just want to make you happy, baby.”

Grapejuice hits a slower groove as Harry’s voice soars like Stylistics legend Russell Thompkins Jr.

Then comes As It Was, his breezily euphoric chart-topper with its barely disguised nod to A-ha’s Take On Me.

There’s more synth pop on the jaunty, shuffling Daylight, and strong ballads like the melancholy Matilda.

All 13 tracks, mostly written with long-time collaborators Kid Harpoon and Tyler Johnson, are beautifully crafted.

Small joys abound – the harmonies on Boyfriends, Pino Palladino’s fretless bass on Little Freak, Harry’s voice frequently going higher than his waistband.

His lyrics can be suggestive but they never feel creepy. The odd drug reference aside, he’s preoccupied with love and loyalty.

Perhaps the oddest line is “I’m not a fan of change”. Really? Harry, 28, reinvents himself constantly, leaving earlier flirtations with Bowie, Queen, Pink Floyd and Lennon behind.

He’s the biggest star to come out of Simon Cowell’s circus but he keeps on proving he’s no plastic pop puppet.