Solo Sidequests: Does This Mean The End?

When members of successful bands pursue solo projects, fans often question whether this signals the dissolution of the band. However, solo ventures do not necessarily indicate an impending breakup. Such projects may represent artistic exploration, personal development, or parallel endeavors that coexist with ongoing band commitments. The following case studies of bands and solo careers demonstrate that a solo path can signify something distinct from a band breakup.

Robbie Williams began his career as a member of Take That, a highly successful British pop band formed in 1990. He departed the group in 1995 to pursue a solo career. Williams’s solo work adopted a more adult pop sound, with greater orchestration and a distinct solo-star persona, in contrast to the ensemble vocal style of Take That. His solo material incorporated rock influences, expansive production, and personal lyricism, diverging from the band’s polished pop aesthetic. This contrast enabled Williams to explore artistic directions unavailable within the group context. Take That subsequently re-formed, at times including Williams, demonstrating that his solo career functioned as a parallel path rather than signaling the band’s end.

Ozzy Osbourne achieved fame as the frontman of Black Sabbath, a pioneering heavy metal band. He left, or was effectively dismissed from, the group in the late 1970s and subsequently launched a solo career that maintained the heavy rock ethos while introducing a more mainstream metal sensibility and distinct personal branding. Black Sabbath continued in various forms before eventually disbanding, but Osbourne’s solo career did not directly precipitate the band’s end. Instead, it reflected broader shifts in personnel, industry context, and creative direction. His solo work enabled him to assume a central role, introduce new production elements, and present a more individualized artistic vision.

Zayn Malik departed One Direction in March 2015 during the group’s world tour to pursue a solo career. His solo work shifted toward R&B, atmospheric production, and more mature lyrical themes, diverging from One Direction’s pop-rock and commercial style. In this instance, Malik’s solo move coincided with the band’s gradual reduction in new output, although the official breakup occurred later. His solo project is best understood as a personal decision rather than a definitive statement regarding the band’s dissolution.

Harry Styles began his solo career following One Direction’s hiatus. His solo work marked a significant departure from the group’s commercial pop sound, instead embracing a vintage rock and singer-songwriter aesthetic. This divergence illustrates how solo careers can serve as outlets for distinct artistic identities. Meanwhile, the band’s legacy remains intact, and the independent growth of its members can contribute positively to the broader group narrative.

Niall Horan’s solo work leans more toward acoustic-pop and folk influences compared to the band’s straightforward pop sound. His solo career demonstrates both a stylistic shift and personal exploration, while he continues to express respect for the band’s impact. Horan acknowledges that solo success does not require replicating the dynamics of the original group.

Louis Tomlinson, formerly of One Direction, launched his solo career following the band’s hiatus. His solo music shifted in both tone and theme compared to the group’s pop-oriented sound. Tomlinson has described his debut solo work as “being minimal and honest” and has cited inspiration from bands such as Arctic Monkeys and Oasis. He stated, “It’s easier … because from a writing perspective or even a marketing perspective … I’m in control of my destiny completely and there’s more pressure obviously but again it makes me feel like I can be open.” (Young Hollywood 2017) This demonstrates that his solo music diverged from One Direction’s highly produced pop sound, moving toward a more introspective, singer-songwriter style with stripped-back production.

Liam Payne began his solo career after the band entered hiatus. In contrast to the group’s pop-rock and stadium-anthem style, his solo work explored R&B-influenced, club-oriented, and hip-hop-inspired sounds. In one of his most recognized hits, he sang, “I used to be in 1D now I’m free people want me for one thing that’s not me I’m not changing the way that I used to be I just want to have fun and get rowdy.” ("Strip That Down") This reflects his appreciation for his time in the band while also highlighting his desire to explore new musical directions.

Calum Hood, bassist and vocalist of 5 Seconds of Summer (5SOS), ventured into solo work with his debut album ORDER chaos ORDER, released on June 13, 2025. His solo material departs from the band’s earlier pop-punk and arena-rock sound, instead adopting a more introspective, mood-driven approach layered with electronic and alternative influences. Hood stated, “This solo project is really about stepping away for a moment to understand myself more deeply, to gain clarity, and to come back more refined… The band has always been my home, and it always will be.” (Atwood Magazine 2025)

Ashton Irwin, drummer of 5 Seconds of Summer (5SOS), released his first solo album Superbloom in 2020. In this project, he explored deeply personal themes such as addiction, body image, depression, and recovery, which had not been addressed as directly in his band work. Irwin stated, “I saw it as the perfect chance for me to make some music on my own, test my songwriting ability and start a little venture on the side for me to live in when 5SOS isn’t busy.” (NME 2020) With his second solo album, Blood on the Drums (2024), he further expanded his sonic palette, combining 1980s-inspired anthems, art-pop, and rock elements. He explained, “I think the art of being a contemporary musician and artist is letting life guide you and letting the times assist you in navigating what to make – when, how, why, and where.” (Atwood Magazine 2024) Within 5SOS, Irwin’s role is part of a high-energy pop-rock ensemble, characterized by anthemic choruses, stadium guitars, and a collective sound. His solo material, by contrast, is more introspective, featuring dreamy guitars, lyrics focused on inner struggles, and sonic textures that emphasize mood and emotional nuance. For example, Superbloom includes tracks about body dysmorphia and mental health (“Skinny Skinny”) and adopts a grunge-influenced, introspective style distinct from typical 5SOS songs. This divergence enables Irwin to explore aspects of his artistry outside the band structure. He has addressed concerns that solo work might harm the band, but he firmly rejects this notion: “People told me: Don’t ever do that, it ruins the band. But that’s bullshit. We’re living in a world where people enjoy individual expression.” (LPM 2024)

Luke Hemmings of 5 Seconds of Summer released his solo EP boy and, prior to that, his solo album When Facing the Things We Turn Away From. Regarding these solo projects, Hemmings observed, “I think it honestly allows me to be Luke from 5SOS better … Because … I would be pulling too many of just my influences into the band.” (Atwood Magazine 2024) In this context, the solo project is explicitly beneficial to the band, as it enables an individual member to explore personal influences and subsequently bring refined ideas back to the group. This process allows the band to move beyond conventional boyband expectations and to explore themes of individual and collective identity, as reflected in their upcoming album Everyone’s a Star.

Michael Clifford officially launched his solo career with the album SIDEQUEST in mid-2025. His solo work revisits pop-punk roots and incorporates DIY production, indie textures, and self-reflective lyrics, marking a departure from 5SOS’s high-energy arena pop-rock style. Clifford stated, “When you write for a band the message has to resonate with everyone … But solo music can be purely yours. It’s your experience, your voice.” (PAPER Magazine 2025) He emphasizes that his solo work does not signal the end of 5SOS: “We can do both … There’s no weirdness, no bad blood. We still have the band and we still make music together, but now we’re also creating separately.” (PAPER Magazine 2025) Clifford further suggests that his solo endeavors will enrich the band: “It’s like your favourite superhero movies where you go and you watch the solo films and then when they come together, that’s the thing that everyone was like ‘Oh my God, did you see that?’” (Rolling Stone Australia 2025)

Solo projects do not necessarily indicate the dissolution of a band. They may represent a hiatus, a temporary diversion, artistic growth, or a parallel path that coexists with ongoing group activity. As the preceding case studies demonstrate, members can explore musical directions distinct from the band’s core aesthetic, which may ultimately benefit the group by renewing its creative energy. The continuation or revival of a band depends on numerous factors beyond solo work, including personal goals, timing, group dynamics, and artistic vision. In many cases, solo ventures represent the next chapter rather than the conclusion of the band’s story.