Back in 2013, there was no escaping HAIM. The group, made up of three sisters from California first came to UK attention at the beginning of that year, winning the BBC’s Sound of 2013 poll of music industry figures. From then on, following a UK tour in the spring they played Glastonbury, T In The Park, and Reading/Leeds – all of these appearances were televised on BBC, significantly boosting their profile. Their first full album, ‘Days Are Gone’ did not appear until the autumn of that year but by the time it did, they were as well-known in the UK as they already were in their native Los Angeles. When the record was released, it showed two distinct sides to the group.
On album, their music was radio-friendly pop with harmony vocals to the fore, with more than a hint of Fleetwood Mac and The Eagles to their sound. Against that, the record’s modern production sheen brought their sound up to date. However, they were a completely different proposition live; middle sister Danielle (the more reserved of the trio) was cast as primary lead vocalist, while showing herself to be a mean lead guitar player, unleashing hard rocking solos in songs that had nothing of the sort on record. She also played drums on the album, however for live performances the sisters enlisted drummer Dash Hutton (a friend of eldest sister, bassist/vocalist Este) who toured full-time with the girls. Este herself was the most outgoing of the trio, engaging the crowd between songs with banter punctuated by more than a few choice F-bombs, while youngest sister Alana ‘Baby Haim’ took up the other side of the stage, given a multi-faceted role on rhythm guitar, additional drums and keyboards as well as vocals.
Later on the group added a full-time touring keyboardist (Tommy King) to take some of the load off Alana, expanding the live group to a quintet. The band live were more akin to a hard rock act than a pop group, songs would feature Danielle cutting loose on the guitar far more than on record, and to close their set the girls would take to drums themselves to bash away alongside their drummer in a spectacle reminiscent of that done by The Scorpions in recent years. The band toured extensively for the next two years, coming back to the UK in 2014 for a tour of bigger halls, and a return to Glastonbury in the summer, but back in their homeland their popularity really blew up when they were selected to support pop megastar Taylor Swift. From there on in they haven’t looked back, although this second album has been delayed somewhat by the meticulous nature of their studio work. The group actually pulled out of planned festival dates in summer 2016 in order to focus on completing the album, releasing a statement apologising to their UK fans.
In April 2017 HAIM finally unveiled a taster for this record, the haunting, brooding ‘Right Now’ which turned out to be an early, ‘live in the studio’ performance. To say the least, after the runaway success of their first album expectations were high for ‘Something To Tell You’ – especially after a four-year gap (Leppard-esque, if you will!) between this and ‘Days Are Gone’. The record was released at midnight on Friday, 7th July, becoming available immediately to listen to on Spotify. Time to settle back and see what the LA sister act have in store for us this time, then…
If you’ve seen this band live and were hoping for an album that captures that harder live sound more accurately, prepare to be disappointed. The material here is smooth, slick, well-produced (perhaps OVER-produced? Bearing in mind that the final result is exactly how the band intended it to be) but, once again it shows that on record this group is a different beast to the onstage version. That’s not to say it is a bad album; it’s actually very good, the songs are designed to ease their way into your brain and take root – you’ll find yourself humming one or more of these ditties after one listen to this album. If anything it is smoother than ‘Days Are Gone’; the group worked once again with producer Ariel Rechtsaid to deliver an album that will sound great in the car, whether you’re heading down a freeway in the summer sun or stuck in a traffic jam on the M62 on a cold, wet Monday morning. There are some nifty basslines from Este in tracks such as recent single ‘Want You Back’, but guitar from Danielle is used sparingly, often buried in the mix such as on the playout for ‘Little Of Your Love’. I’d expect that to be radically different once they hit the stage.
The vocal harmonies that have led to those Wilson Phillips comparisons are present and correct, and they venture into RnB territory with songs such as ‘Treat You Right’. On that track, surprisingly there is another lead guitar playout from Danielle, unsurprisingly it is again buried deep within the production. On ‘You Never Knew’ they go into full Fleetwood Mac mode; the echoed backing vocals will make you think immediately of ‘Little Lies’ from Mac’s 1987 album ‘Tango In The Night’.
The girls’ drum background is shown once again in ‘Kept Me Crying’; this album’s ‘The Wire’ with a beat throughout that will inevitably lead to audience handclaps when it’s played live. This one DOES have a more prominent, fuzzed-out guitar outro. The highlight for me is penultimate track ‘Right Now’; a slow-burner starting out with a church-style organ and gradually building up, deploying the heavy guitar chords for the only time on the record midway through and then introducing those syncopated drums. Even so, the live version as seen on their recent BBC appearances is superior, the production is a little bit too strong with unnecessary (IMO) effects added to Este’s backing vocal. That could have been the album closer, but they have chosen to end things with the gentle ‘Night So Long’, demonstrating once again their close harmony vocals.
You won’t find thought-provoking lyrical content on this record, it is all concerned with boy/girl relationship issues. With that in mind it is a little baffling that this band is considered ‘indie’ by some, this is pure ear candy that has many tracks that could be singles, surely many will be picked up by radio in the coming months. Besides ‘Want You Back’ and ‘Little of Your Love’, tracks such as ‘Found It In Silence’ and the title track are potential hit singles.
If you’re more of a rock fan and were hooked by this group’s live prowess, you’ll need to put aside your metallic leanings in order to enjoy this record. If you can do that, there’s much to enjoy on this album. Consider it a successor to ‘Tango In The Night’ and you’re about there.