Distinctive design, lasting comfort and detailed audio put Nothing’s new headphones firmly on our radar.
Nothing’s Headphone (1) Pro quickly became part of my daily routine. After several weeks of listening at home and travelling across London, I found myself reaching for them whenever I could. The distinctive design caught my attention first, but the comfort and sound quality kept me coming back.
At £349, these wireless over-ear headphones need to offer more than good looks. There is plenty to like here, from straightforward physical controls to sound settings that reward a little experimentation. A few practical frustrations also deserve a mention.
Design and Comfort
Available in black and white, the Headphone (1) Pro follows Nothing’s recognisable design language, with square ear cups and transparent outer windows. Aluminium ear cups, titanium alloy arms and scratch-resistant Panda glass give them a substantial feel, yet their 327g weight feels surprisingly manageable when worn.
Comfort is one of their strongest qualities. The soft ear cushions, wide headband and reduced clamping pressure make longer listening sessions easy. Nothing also uses an 8mm silicone “baffle wall” to help create an acoustic seal around the ears.
The physical controls are another highlight. A roller handles volume and playback, while a paddle lets you skip tracks or fast-forward and rewind. Dedicated power and Bluetooth pairing controls keep everyday use straightforward. Having tangible controls is a welcome convenience when I want to change something without reaching for my phone.
The case is less convincing. Its plastic construction feels cheaper than the headphones themselves, and the exposed headband leaves me questioning how much protection it offers in a crowded bag. It does not charge the headphones, either. The ear cups rotate flat, but the headphones do not fold inwards, so storage remains a consideration for anyone travelling light.
Sound and Noise Cancellation
The most enjoyable part of testing the Headphone (1) Pro was revisiting familiar music. Ezra Collective’s Here Because of Hope and Tinashe’s Popstar made an unlikely pairing, but the headphones handled both convincingly. Switching between them highlighted how comfortably the sound adapted to different styles.
On Venna’s MALIK, layers of vocals that I had previously overlooked became easier to pick out. That sense of discovery made listening feel more involved, even with tracks I already knew well.
The triple-driver system divides the workload between a bass dynamic driver, a precision dynamic driver and a treble xMEMS driver. In use, the result is a clear, detailed presentation that gives different elements of a track room to be heard.
Audio tuning was developed with Metropolis Studios. A physical ‘Flat’ switch on the left ear cup activates a neutral EQ profile designed for reviewing, producing and mixing music.
Bass has presence, although listeners who favour a particularly heavy low end may want to adjust the settings in the app. For my listening habits, the balance worked well across genres.
Active noise cancellation is useful, with a noticeable limitation on my commute. It could not fully tame the Bakerloo line, though it reduced distractions effectively at home. The app offers different cancellation levels, alongside an adaptive setting. It is a feature I appreciated daily, even if London’s Underground remained a demanding test.
Nothing X App
The Nothing X app is where these headphones become more personal. You can adjust noise cancellation, tailor the sound and explore spatial audio without needing to understand every technical setting.
Simple EQ offers familiar bass, midrange and treble adjustments. Advanced EQ provides greater control, including adjustments to individual drivers. That flexibility will appeal to anyone who enjoys fine-tuning their music, while five curated profiles provide an accessible starting point.
Spatial audio adds another layer of experimentation, with settings including Live House and Concert Hall, plus head tracking. The Studio B mode draws on the acoustics of Studio B at Metropolis Studios.
My recommendation is James Blake’s Trying Times with Studio B enabled. It became one of my favourite combinations during testing and is well worth trying if you enjoy exploring how a different sound setting changes a familiar recording.
The Verdict
The Headphone (1) Pro makes a strong case for itself through comfort, detailed sound and controls that are easy to use. The ability to tailor the audio adds lasting appeal, whether you make a few simple adjustments or spend time exploring individual frequencies.
Nothing quotes up to 68 hours of playback with active noise cancellation switched off, or up to 30 hours with it enabled when using AAC. These are manufacturer figures, with actual battery life dependent on settings and use.
There are compromises. The case feels underwhelming, the headphones take up space in a bag, and the noise cancellation leaves some room for improvement on a noisy commute. At £349, those details matter.
Even so, I enjoyed using them enough to keep reaching for them throughout the review period. For listeners who value comfort, distinctive design and the freedom to shape their sound, the Headphone (1) Pro deserves a place on the shortlist.
Contact: nothing.tech.