Billie Eilish’s third studio album, Hit Me Hard and Soft, is up for seven Grammy nominations in 2025, including Album of the Year.

Since her hit “Bad Guy” projected her onto the pop scene, no one has been redefining the zeitgeist of the current decade quite like Billie Eilish. But, with her third studio album, Hit Me Hard and Soft (HMHS), performing wildly on the charts, it’s clear that Eilish is far from done pushing musical boundaries. 

Hit Me Hard and Soft takes the listener through the highs and lows of navigating relationships, intertwining themes of self-acceptance with betrayal, commitment with obsession, and all atop a techno-inspired bedroom pop beat. 

“Birds of a Feather,” one of two singles and the fourth official track off of Hit Me Hard and Soft, has garnered much attention for its upbeat drums, infectious melody, and proverbial chorus. However, even with the heart-rending belt that tops Eilish’s vocal performance towards the end, this song alone does not capture the full beauty that is HMHS.

For example, “Skinny,” the opening track, successfully sets the stage for the rest of the album with its raw, honest lyricism that tackles Eilish’s insecurities while growing up in the limelight, especially discussions of her weight. To this song’s slow, soulful riffs, accompanied by little beyond a gentle guitar, quietly asking, “Do you still cry?”: 

Whenever this song plays, the answer is an emphatic, “Yes.” 

The sixth track, “The Greatest”, is arguably the most powerful of the album. Like “Skinny”, it opens with nothing but Eilish’s voice and a simple guitar melody. As the song progresses, Eilish’s layered vocals and the added drums gradually build until it crescendos into an electric guitar solo. It’s an explosive piece, more than fit for its name.  

There’s a brief lull in the album with the 8th track, “The Diner”. It’s a small nod to the creepy, bass-heavy style that Eilish was most known for in her hits like “Bury a Friend,” “Bad Guy,” and “Ilomilo.” Yet, this slow tempo “homage” resembles more closely to a generic song heard during a walk through a funhouse than anything else. It’s still an enjoyable listen, with a funky saxophone that hooks you right from the get-go. Comparatively, though, it’s forgettable in the passionate whirlwind that is the rest of the album. 

The biggest gripe one should have with the album is that it’s Eilish’s shortest to date. With only ten tracks and a length of 43 minutes, it’s a brisk listen. However, in all honesty, it’s an album too good not to keep on repeat. 

Regardless of whether or not she wins Album of the Year, Eilish’s work on HMHS has already rightfully earned her the title of true pop icon.