Heart – “There’s the Girl”
Nancy steps up, and FM rock gets its cool back
By October 1987, Heart were well into their arena-pop reinvention — big choruses, dramatic power ballads, and MTV-friendly glitz. Coming off the megawatt success of “Alone” and “These Dreams”, they dropped “There’s the Girl” as the second single from Bad Animals. It didn’t quite match the chart dominance of its predecessor, but it delivered something just as compelling: a punchy, sleek rocker fronted by Nancy Wilson.
A Different Voice, a New Vibe
Heart fans knew Ann Wilson as the band’s signature powerhouse, but “There’s the Girl” flips expectations: Nancy takes lead vocals, and the shift works. Co-written by Nancy and Holly Knight (who’d also penned “Never”), the song leans into a more detached, almost icy confidence. Nancy’s tone adds subtle tension to a sleek production full of gated drums, shimmering synths, and chiming guitars.
It’s pure late-’80s rock-pop — stylish and radio-tailored, but still laced with emotion.
Chart Moves and Radio Groove
The song peaked at No. 12 on the Billboard Hot 100 and hit No. 16 on the Mainstream Rock chart — a solid performance, though dwarfed by the No. 1 glory of “Alone.” In the UK, it reached No. 34, while also charting in Canada (No. 31) and Poland (No. 14).
Part of why it flies under the radar now? It had the misfortune of following one of Heart’s biggest ballads ever. Compared to the drama of “Alone,” “There’s the Girl” felt breezier — more strut than sob.
Two Versions, One Sphinx
Notably, the 7″ remix of the song differs from the album version, featuring a more radio-friendly mix and extra lines like: “She’s setting you up, my friend / She’s gonna break your heart again.”
Those lines appear in the music video, directed by Jeff Stein — a surreal visual trip complete with fog, mirrored pyramids, and a literal Sphinx drum kit. Nancy appears in a tuxedo and tails, front and center. It’s theatrical, weird, and wonderfully of its time.
Why It Deserves a Spin
“There’s the Girl” is a fan favorite for a reason. It captured the band’s willingness to stretch — to hand the mic to Nancy, to lean into synth-pop shimmer without losing their rock edge. It’s got groove, sass, and just enough polish to still sound great cruising down an ’80s highway.
In a catalog packed with power ballads and guitar anthems, this one glides in with a side-eye and a sly hook — and sticks the landing.