March 9, 2026 1:50 am EDT

The choreographer who devised the routine for Harry Styles’ Aperture music video and BRIT Awards performance has revealed how he pushed the singer ‘out of his comfort zone’ with the energetic dance.

Ryan Heffington – who came to fame by choreographing the iconic 2014 music video for Sia’s Chandelier – heaped praise on Harry, 32, for his dedication and for being brave enough to take on the routine, after years of shying away from dancing.

During his time in One Direction, the band purposefully avoided choreographed dancing to avoid fitting the traditional boy band formula.

However, Harry delighted fans last week when he opened the BRITs with a high-octane performance of Aperture with a troupe of dancers, in his long-awaited return to the stage after almost three years.

The dazzling routine went viral, racking up 3.8million views on YouTube as viewers raved over the pop star’s effortless and slick moves.

And now Ryan has shared details about working with the star on the music video choreography and adapting it for the BRITs, saying the routine was ‘about Harry moving out of his comfort zone’.

The choreographer who devised the routine for Harry Styles’ Aperture music video and BRIT Awards performance has revealed how he pushed the singer ‘out of his comfort zone’ with the energetic dance (seen at BRITs)

Ryan Heffington heaped praise on Harry, 32, for his dedication and for being brave enough to take on the routine, after years of shying away from dancing (seen in music video)

During his time in One Direction , the band purposefully avoided choreographed dancing to avoid fitting the traditional boy band formula (seen performing with Zayn Malik in 2013)

Speaking to The Times, he heaped praise on Harry, branding him ‘a kind human and a really hard worker’ and revealing that he forewent using a stunt double in the music video because ‘he wanted to do it all’.

Explaining his inspiration, he said: ‘My idea was to physicalise the music. He would sing a word and the melody of that word was expressed through the body. He loved it.’

While Ryan revealed that they only had a couple of days to rehearse for the BRITs performance, saying that Harry arrived having already learned most the routine and worked hard to get it right.

‘He never wanted a break, he just wanted to learn it and do the best he could. The dancers at the Brits were huffing, puffing and sweating… Harry just nailed it,’ he praised.

Following the viral reaction to Harry’s moves, Ryan added that it showed a lot of courage for the star to continue to try new things in the spotlight, when people are so quick to criticise.

He said: ‘Harry’s incredible. It’s hard to learn in the public eye; expectations are so high for them to be the best dancer, the best singer… We’ve seen numerous cases of people trying things and getting slammed. But I think he’s older and more confident and grounded now.’

One Direction were known for focusing on vocals and stage presence rather than the slick choreographed routines that their predecessors – such as *NSYNC, Backstreet Boys, New Kids on the Block and Five – were known for.

Admitting it was partly down to their own lack of talents, the quintent also expressed they saw the typical synchronized steps as not being genuine or organic. 

Speaking to Glamour magazine in 2013, the late Liam Payne said: ‘We just kind of came out and said, “We can’t dance. We’re a bit lazy. We’re just normal lads”. We look stupid dancing. That’s what I think.’

While former member Zayn Malik echoed: ‘We didn’t want to just follow the boy band formula. We didn’t want to do any dancing. We just wanted to be five dudes in a band.’

And Harry himself added: ‘The thing is, when you’re playing a part, eventually it goes wrong. Eventually someone’s going to see that that’s not who you are. So it’s best to be yourself from the get-go.’

Harry delighted fans last week when he opened the BRITs with a high-octane performance of Aperture with a troupe of dancers, in his long-awaited return to the stage after almost three years

The dazzling routine went viral, racking up 3.8million views on YouTube as viewers raved over the pop star’s effortless and slick moves

One Direction were known for focusing on vocals and stage presence rather than the slick choreographed routines that their predecessors – *NSYNC, Backstreet Boys, New Kids on the Block and Five – were known for (Liam, Harry, Zayn, Louis Tomlinson and Niall Horan in 2014)

Harry’s fourth studio album, Kiss All The Time, Disco Occasionally, dropped on Friday, to a slew of positive reviews from critics and fans.

Kiss All The Time, Disco Occasionally – KISSCO to his fans – has received a swathe of four star reviews, where he has been lauded for his choice to put out ‘music that actually sounds like him’, according to a critique in the Independent.

Harry’s return as the king of pop features hints of disco and rock, with nods to LCD Sound System, Prince-style funk and The Durutti Column throughout.

The track list is as follows; Aperture, American Girls, Ready, Steady, Go!, Are You Listening Yet?, Taste Back, The Waiting Game, Season 2 Weight Loss, Coming Up Roses, Pop, Dance No More, Paint by Numbers and Carla’s Song.

It has been described as his ‘most playful, bold and experimental to date’, as he offers a vulnerable approach to exploring his feelings around ‘relationships, adulthood, the loss of innocence.’

The Times also gave the album four stars, and the critic particularly enjoyed the fact that it sounded like a ‘bunch of people making music together and enjoying it’.

They said Harry sings with ‘lightness rather than passion’ and he is someone who leans into following the lead of legends before him, such as Jagger and Bowie. 

While Rolling Stone branded the album ‘the perfect summer soundtrack’, which pays a ‘clear tribute to dance music’s trailblazers, but also provides a bold new step in his solo superstardom.’

Harry debuted the new album at Manchester’s Co-op Live on Friday night to a group of lucky fans who secured £20 tickets in a lottery, with the One Night Only show was recorded and dropped on Netflix on Sunday.

It marks the first of a run of shows across seven countries on his Together Together tour, where he has planned multi-day residencies and will perform 50 shows in total.

HARRY STYLES: KISS ALL THE TIME, DISCO OCCASIONALLY REVIEWS

The Independent – four stars

Rating:

There’s a curiosity to this album that was perhaps lacking in its predecessor, 2022’s Harry’s House. Critics reviewed it positively (The Independent’s Mark Beaumont hailed its ‘funk shuffle and future soul panache’), and it also won the Grammy for Album of the Year. To me, though, it felt like Styles was trying too hard to be what others hoped he might become: the former boyband star turned great pop auteur, leaning into a lush, layered Laurel Canyon sound that washed blandly over the listener. Not so here

It’s almost a relief to have Styles back, given how women in pop have been doing so much of the work in recent years. And really he has no true male peer (artists such as Bad Bunny, Sam Fender and The Weeknd excel in their own lanes), as much as newcomers such as Benson Boone might try. No one can match his level of pizzazz. By stepping away for a minute, allowing any fears of getting left behind to cease, Styles has been able to return with newfound clarity and, more importantly, music that actually sounds like him. He let the light in, and it shows.

The Times – four stars

Rating:

‘As Styles skips through rock, funk and the odd experimental touch, singing with lightness rather than passion, this feels like the product of a bunch of people making music together and enjoying it — an old fashioned concept in the digitally driven, multi-collaborative world of modern pop.

‘In the main, though, Styles seems like someone who really does enjoy being a rock star of the Mick Jagger/David Bowie school, albeit one aligned to the morality of the age. ‘Just for tonight, let’s go hangover chasing. And I’ll talk your ear off about why it’s safe,’ he suggests on a string-laden love song called Coming Up Roses, which must be the dream of 2026: getting drunk with Harry Styles in a safe space. That’s the appeal of this musically deep, lyrically shallow, curiously laid-back album: hanging out with pop’s Mr Easy.’

Rolling Stone – four stars

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What unites most of these songs is the sense that Styles has emerged with a far bigger sound than he’s ever delivered. 

Rumoured trips to Berlin techno club Berghain while recording the album at the city’s Hansa Studios helped in no small part with that. ‘Just being able to be in a crowd and be with friends and be in spaces feeling safe enough to, you know, get a little loose and dance and stuff,’ he recently reflected.

Styles has offered a record that pays clear tribute to dance music’s trailblazers, but also provides a bold new step in his solo superstardom. It is the perfect soundtrack for this summer, when Styles’ fans will head to his huge Wembley Stadium shows to, well, disco, occasionally. But with this record’s uniting power, you wouldn’t rule out a few kisses either…

Telegraph – three stars

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It seems to be a foregone conclusion that Kiss All the Time. Disco, Occasionally. is going to conquer the world – and it will be one of the oddest pop records to do so. 

In this respect, Styles has his finger on the pulse of contemporary listeners in our turbulent times, feeding an appetite for edgeless escapism, music that hints at big ideas and emotional depths without actually having either.

The Guardian – three stars

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And in an era when some pop stars seem desperate to cling on to their place at the top by any means necessary – from doing down rivals in song to boosting their chart placings by drip-feeding diehard fans with umpteen limited editions – there’s something oddly laudable about an album that doesn’t seem desperate to be loved, even if the results are occasionally a little too opaque for their own good. 

And, of course, its flaws are besides the point, at least commercially. The expectation that Styles’s fans would travel to see him turned out to be entirely correct: 11.5 million people applied for tickets to his 30 New York shows. If you know whatever you do next is almost guaranteed to be huge – if you are, unequivocally, a very big deal indeed – why not please yourself?

BBC

As such, there’s little to compare with the straightforward joy of Watermelon Sugar, or the keening desire of As It Was – but Styles isn’t stupid enough to alienate his fanbase entirely.

The slow acceleration of lead single Aperture emphasises Styles’ message that enduring love is worth waiting for.

American Girls possesses a cheeky swagger that’ll sound immense at his record-breaking Wembley Stadium residency this summer.

And the delightfully barmy Dance No More bounds along on an irresistible groove as the singer leads a chant of ‘respect your mother’.

Elsewhere, though, Styles seems distant and disconnected. It’s as though he’s not reached a resolution to his long, dark teatime of the soul.

It’s an interesting space for a stadium-conquering pop star to occupy, and all credit to him for being brave enough to dwell in limbo for the duration of an entire record.

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