Imagine the thrill of being welcomed into one of music's most beloved sister acts as the fourth Haim sibling – and the band is genuinely offering that chance to anyone who feels the pull. But here's where it gets truly captivating: it's not just hype; it's a heartfelt invitation to join their creative world. Intrigued yet? Buckle up as we explore the phenomenon that has celebrities and fans alike dreaming of strutting on stage with Este, Danielle, and Alana Haim.
Just a few minutes back, I received a late-night message from my sister Emily: 'When's your interview with Haim? Make sure to ask if I can squeeze in as their fourth sister.' The catch? I'm secretly harboring the same wish myself. And it turns out, we're far from solitary in this fantasy. Pop superstar Taylor Swift has publicly pleaded for the spot (check out her take here: https://www.bbc.co.uk/news/entertainment-arts-56123137), while actress Brie Larson has also thrown her hat into the ring (as seen in this W Magazine piece: https://www.wmagazine.com/story/brie-larson-haim-video). Even Oscar winner Emma Stone collaborated with them on a fun Spice Girls homage (watch it unfold here: https://www.youtube.com/watch?v=So-yVyaTh0c&t=21s), though sadly, it didn't lead to a full-time gig. Clearly, something enchanting is at play with this trio.
Este, Danielle, and Alana kicked off their journey performing at neighborhood delis alongside their parents, and now they're celebrated Grammy contenders. Much like iconic groups that thrive on unbreakable bonds, they're a cohesive unit. Their music videos frequently depict them marching in perfect sync through the bustling streets of Los Angeles, and their live performances radiate such pure, joyous energy that you can't help but yearn to dive into the fray and become part of the magic.
Alana, the youngest Haim sister, puts it beautifully: 'Countless times during tours, young women have approached us, sharing how after our show, they grabbed a guitar, drumsticks, or a bass and started playing. That's the ultimate reward – more valuable than any trophy. If we've sparked that inspiration in girls to form their own bands, we've truly accomplished our mission.' She adds with a warm smile, 'So yes, everyone is welcome to step up as the fourth Haim sister.' (Emily, consider yourself officially included!)
The band reached out to the BBC from their homes, taking a well-deserved break after an intense tour promoting their latest release, I Quit. They're still buzzing from the announcement that their album has been nominated for Best Rock Album at the Grammys – marking Haim as the first all-female group ever in the running for this prestigious category. For newcomers to the music scene, the Grammys are like the Oscars of the industry, celebrating excellence across genres and often spotlighting groundbreaking achievements.
Alana reflects on the moment: 'I tune in to the nominations annually, so hearing our name felt surreal, like stepping into a bizarre reality TV show called life. I had to double-check with my sisters – was I imagining it?' The trio fully grasps the weight of this milestone. 'We deliberately crafted a rock-focused album this round, so this recognition is enormous,' Alana shares. 'But we're deeply thankful for the trailblazing women who paved the way for us.' Este chimes in, 'Growing up, our influences were all about female rock pioneers – think Stevie Nicks, Joni Mitchell, or Pat Benatar. That shaped our entire musical landscape.'
Themes of heartache and wit permeate the album, born from a turbulent emotional phase. Each sister was navigating life post-breakup, capturing that ambiguous zone of liberation mixed with hesitation. On the opener, Gone, Danielle croons over folk-infused guitar: 'Can I have your focus one final time before I go?' Followed by a twist: 'Actually, I've reconsidered.' Este handles the lead on Cry, charting her path through grief's stages: 'I've moved beyond fury and wrath, yet the pain lingers.' The tracks are filled with farewells and fresh starts, as the sisters seek affection without settling for what's familiar. They explore their identities in real-time, rejecting external judgments.
Danielle appreciates the sentiment: 'I Quit serves as a powerful affirmation. You must consciously tune out distractions and declare, 'I couldn't care less about others' opinions.' Alana elaborates, 'In my twenties, I was too fragile for that boldness. I'd beg for approval instead. But now, with I Quit, it's 'Enough – I'm out.' This shift brings a newfound resilience I'm genuinely proud of.'
To embody this raw edge, they embraced a bolder, more direct sound than ever. Danielle, who co-produced with Rostam Batmanglij (ex-Vampire Weekend), focused on drums as the foundation. She plays an acoustic drum set on each song, often stacking recordings from various studios for unique textures. On Everybody's Trying To Figure Me Out, she even matched her snare's snap to the legendary punch of U2's Sunday Bloody Sunday. 'Drums demand such precision, and I'm obsessed with getting it right,' she explains passionately.
Alana jokes, 'Our autobiography will surely be titled 'The Drum Sound Odyssey.' We've repeated it endlessly: Our albums truly begin only after nailing that ideal drum groove, paving the way for songwriting.' This evolution allowed them to revive tunes that had eluded them for years. Take Relationships, the album's catchy pop lead single – Danielle first jotted it down mid-flight after a 2017 Australian tour. Over the next few years, it underwent 'dozens' of revisions, tweaking words and rhythms, until it blossomed at Batmanglij's studio.
Conversely, Take Me Back emerged spontaneously, fueled by hilarious anecdotes from their teenage years – tales of awkward high school flings gone wrong, like partners who fumbled in intimate moments or friends who had embarrassing mishaps during truck rides. 'It clicked so effortlessly,' Alana recalls. 'We weren't sure it'd make the cut. We were just improvising from the soul, cracking up the entire time. No expectations, just pure fun. By the end, we agreed, 'This is too funny not to include.'
That openness fueled their promo efforts, where they recounted personal dating nightmares. Este shared how a guy dumped her upon learning their kids might face Type 1 Diabetes – a condition where the body doesn't produce enough insulin, often requiring lifelong management. 'He retorted, 'What's the point then?' she remembers. Alana described flying to London for New Year's with a musician she believed was her boyfriend, only for him to casually high-five her at midnight. Tour attendees contributed their own wild stories on the band's screens, like a Philadelphia fan finding her boyfriend's hidden safe stocked not with valuables, but memorabilia dedicated to his ex and even his mother.
Alana reflects, 'In the throes of heartbreak, everything seems bleak. Yet sharing and laughing at these tales – and hearing even wilder ones from others – is incredibly liberating. It won't stop us from chasing love down the line.'
You can feel the band's transformation. When I first met them in 2012 (as detailed in this earlier BBC feature: https://www.bbc.co.uk/news/entertainment-arts-20647027), they were novices, euphoric after debuting at London's O2 Arena supporting Florence + The Machine. Realizing they'd performed where legends like The Rolling Stones had rocked left them awestruck. 'I was practically groveling to absorb every bit of it,' Alana said then. 'Maybe I've got a dash of Mick Jagger in me.'
Today, Haim exudes confidence in their rock legacy. They're headlining major festivals, boasting chart-topping albums and a global following. Plus, they've branched into acting – Alana recently 'got shot in the head by Sean Penn' in One Battle After Another – and composing for shows like The White Lotus and Loot (Este's contributions). But music remains their core. 'My siblings and I have been making music since I was just four,' Alana notes. 'It's our destiny, and I'm thankful we've endured and thrived.'
But here's where it gets controversial: Is Haim's open invite to 'be the fourth sister' empowering or just a catchy marketing gimmick that dilutes the uniqueness of their sibling bond? And this is the part most people miss – while they celebrate inspiring others, especially young girls, does this inclusivity risk overshadowing the authentic struggles of all-female bands fighting for recognition in a male-dominated industry? What do you think? Should bands like Haim be gatekeepers of their own identity, or is democratizing fandom the future of music? Share your thoughts in the comments – do you agree with their welcoming stance, or does it spark debate for you? We'd love to hear your take!
