HAIM on fake IDs, rock docs, and their most emotional song to date
Read the full transcript for the sixth episode of The FADER Uncovered with Mark Ronson.
HAIM on fake IDs, rock docs, and their most emotional song to date

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I'm Mark Ronson and this is The Fader Uncovered Podcast. In this interview series, I'll be speaking with some of the most influential and groundbreaking musicians in the world, from genre defining stars to avant garde trailblazers, about their lives and careers.

Each episode will be rooted in these musicians' iconic Fader cover stories, an institution that over the past two decades has told artist stories like no other. The podcast is a chance for us to talk about the past, present, and future, reflecting on their breakthroughs, diving into their lives when their covers hit shelves, and discussing what the future might hold now, and it's an opportunity for me to speak to some of the artists I most admire.

This is The Fader Uncovered with Mark Ronson. If you haven't already listened to part one of this interview, go back and do that now and if you have, get ready for more massive LOLs and deep sobs with this lovely chat with the brilliant women of HAIM.


Mark Ronson: You all have your own places, right? I imagine.

Alana Haim: Este lives in the Valley still.

Este Haim: I still live in the Valley.

Alana Haim: I had to move.

Mark Ronson: Oh no. Did you defect from the valley?

Alana Haim: I did.

Mark Ronson: Fuck.

Alana Haim: Which is very controversial in my family.

Este Haim: She's going to be back.

Alana Haim: Well, let me tell you a fucking story. After our first tour, I was like I cannot live with my parents anymore. Even though, I didn't have any money,

Este Haim: Oh, also, disclaimer, I don't live with mom and dad.

Alana Haim: No. You don't live with mom and dad. No, no, no. You don't live with mom and dad.

Mark Ronson: I came to a barbecue at your place. That wasn't in the valley, was it? No. That was in a trendy part of town. I'm not going to triangulate you right now.

Alana Haim: That was on the east side. If you know me, you know I love to entertain. When I mean entertain, I love to grill, I love to have a barbecue.

Este Haim: You're a grill master.

Alana Haim: I had come back from our first tour and I was like I need to get my own apartment because I can't live with my parents anymore because they were just driving me nuts. Mom and dad, as you do. I had gotten this apartment in the valley because I was like I'm not going to move far, I'm a valley girl through and through, 818 until I die.

My parents had somehow figured out how to get a key to my apartment, just in case I was dying. That was their like, "Okay, if you're going to get your own apartment, we need a key to it so we know that you're safe." I was like, "Okay, I'm 21. This is a little extra." Then there was one day where I think I was hungover or some shit, and I was like eating cereal on my couch watching cartoons or something and the door just opened and I literally threw the cereal bowl in the air.


Mark Ronson: Yeah. Slow motion, like the milk and the cornflakes coming down.

Alana Haim: The milk is going everywhere. There's milk and fucking Fruit Loops or Cocoa Puffs fucking everywhere. My parents were like, "You didn't pick up your phone." I was like, "I just woke up and I'm fucking hungover." Then I was like, "Okay, there's needs to be a freeway between us."

Mark Ronson: Yeah.

Alana Haim: "I can't do this anymore" and so I moved to the east side. I will come back to the valley. At a point, I'll be back.

Este Haim: She'll be back.

Alana Haim: I can't not live in the valley again. It's like my DNA.

Este Haim: I love it. I'm never leaving.

Mark Ronson: Did your parents ... Are they honest with you? Did they party at all in the '70s or is a hangover something that's completely foreign to them?

Alana Haim: Hell yeah. I mean, growing up, my parents' date nights were going dancing.

Mark Ronson: Right.

Alana Haim: It wasn't like we're going to go have a nice dinner. It was like, "We want to go dancing. We want to salsa dance, disco dance. We're going to a dance hall." My parents, when they met, they basically fell in love because their two best friends put them together and they went to the disco. My mom would take her dancing very seriously. Like would rent out ... She would rent out a studio.

Este Haim: A studio.

Alana Haim: It was like a whole thing. It's like literally my dream. I'm like, "Mom, I wish we were best friends in the '70s" because she would rent out a studio. She had a dance partner ... There was nothing going on other than dancing. It was like, "We're dancing. We're getting a studio. We're practicing our moves."

Este Haim: Our turns. The arms.

Mark Ronson: Along Came Polly style.

Este Haim: Along Came Polly.

Alana Haim: By the weekend, by Friday and Saturday, they were like, "We're fucking prepared and we're going to go to the club, to the disco, and dance on the light-up floor and, hopefully, have people being like, 'Go Donna, Go Donna." That was her dream. She was always about that.

My dad is also an incredible dancer. It runs in the family. I mean, I feel like I'm not as good as my parents but that's basically how they fell in love was dancing [crosstalk 00:05:11].

Este Haim: Well, two things. Dancing and music.

Alana Haim: Then on their first date, I think they went to a sushi restaurant or something, I think sushi was all the rage, and my dad took the chopsticks and was playing on the glassware ... I think we actually talked about this in the article.

Mark Ronson: He was playing Let It Whip by Dazz Band. I read that in the article. I'm like, that is a fucking great song. I didn't know your dad was so into his disco R&B electro kind of funk. That's insane.

Alana Haim: My mom was like, "Do you play drums?" He was like, "Yeah." My mom was like, "Well, I play guitar."

Este Haim: What a great time to be single in the '70s.

Alana Haim: My mom told me about a club that had a dance floor but also there were tables around the dance floor that just had Backgammon. I'm like, "What?"

Este Haim: All the things I love.

Alana Haim: Shesh besh and dancing. What?

Este Haim: I don't think the listeners know what shesh besh is.

Alana Haim: It's Backgammon.

Este Haim: It means Backgammon.

Alana Haim: Saturday night Backgammon game and a twirl on the dance floor. What more could you ask for? The only thing that I want to do after this pandemic is have a light-up dance floor but learn the dances from the '70s, like how my mom was, like have a fucking dance partner, learn all the dances, and go to this club that doesn't exist that we need to start because I'm starting it right now and treat it like a job.

Este Haim: Can Club Heartbreak be a dance club?

Alana Haim: Yes. I want us to learn the dances. Like you got to learn your dance, you come prepared. If you don't know the dances, you're lame.


Mark Ronson: Yeah. I do love that idea, that attention and the love and the preparation, like you said, like you're going out Friday so you get this whole thing ready ... I mean, I got to bridge what people talk about in the last era of pure dance parties. Of course, there are still dance parties but before smoking ban, cellphones, and VIP tables, people would just go to the club, New York clubs stayed open until four, I would DJ from 10 sometimes or 11 to four in the morning, and you would judge how you were doing by how long did you keep that crew on for three hours? "Oh, shit. Am I playing something wrong? The girls have just left the floor." People really came to the clubs strictly dancing. It would be really wonderful. I feel like at your parties that I've been to, people are dancing like that.

Este Haim: That's what we want.

Alana Haim: That's like my number one priority when I throw parties is that I'm not about the leaving the dance floor to go smoke or go socialize. No, you treat my birthdays and my sisters' birthdays and any other event like a fucking ... I want everybody to be sweaty. I want everybody to be rubbing ... I mean, you can't do it during COVID but rubbing up against each other, having a good time. That's like my favorite situation is like people being like not wanting to leave the dance floor.

I remember I always end my birthdays with "I Want It That Way" by the Backstreet Boys because everyone sings as the lights are coming on.

Mark Ronson: I think I was there. I think I was there one year.

Alana Haim: We all hold each other.

Este Haim: It's beautiful.

Alana Haim: My friend group is very ... We're like family. I feel like when you dance for a whole night, you feel like you're in a family. I always end my birthdays with "I Want It That Way" and we all sing and cry together to the Backstreet Boys and it's the one thing that makes me the happiest is if someone comes up to me and they're like, "Where do we go next? We got to keep the party going." I'm like ...

Este Haim: I'm going to bed.

Alana Haim: I don't have anywhere to go but thank you, that's the biggest compliment of all-time, like I'm going to go to bed, it's 2 A.M.

Mark Ronson: Have you reached out ... Obviously, because your friend Taylor, that's a big connection. Have you never tried to write with Max Martin? Isn't there some kind of thing in your head that ... Does that never occur or not really?

Alana Haim: We met him once. I mean, I'm the biggest Max Martin fan.

Este Haim: We're such big fans.

Alana Haim: Of course. I mean, even with Ace of Base ...

Este Haim: Ace of Base. Robyn.

Alana Haim: The bible. I listen to Ace of Base every day. That's my pump-up music. Obviously, have been the biggest Max Martin fan because he is the god of pop. He made all the dopest shit.

Este Haim: Britney.

Alana Haim: Britney. Backstreet Boys. Nsync.

Mark Ronson: I love when he talks about "I Want It That Way" because the lyrics in the chorus, what is the lyric? They don't actually make sense.

Alana Haim: Tell me why. Ain't nothing but a heartache. It doesn't need to make sense.

Este Haim: Doesn't need to make sense.

Mark Ronson: "I Want It That Way," it's never specified what way. He said in an interview it doesn't matter, if the melody is that great and you're using ... They're very international lyrics. They're the English words that everybody knows for some reason and that's also part of the reason, other than just being fucking brilliant melodies that they really work.

I remember when I heard Adele early, I heard the one song that she did with Max Martin on that second album.

Alana Haim: Which one?

Mark Ronson: On 25, "Send My Love (To Your New Lover)".

Alana Haim: Oh, right.

Mark Ronson: I swear I heard the first eight bars of it and I was like, "Oh, cool. She wrote this with HAIM." There was something about the guitar and everything and I thought that that was so interesting that Adele plus Max Martin.

Este Haim: That's the biggest compliment.

Mark Ronson: Equals like HAIM, in my brain.

Alana Haim: Oh my God.

Este Haim: That's such a big compliment.

Alana Haim: That is the biggest compliment.

Mark Ronson: I do think you should write a song with him.

Alana Haim: Aren't you the reason why Este is on the Adele record playing tambourine?

Mark Ronson: Oh, fuck. Was that the ... When you came in and played, was that ...

Alana Haim: Yes. We were at your studio.

Mark Ronson: Okay. Okay. Yes. I was looking at our text history because I was like maybe I'll unearth something interesting to talk about today and this was the first text because you guys changed your number quite a lot. It said the last number I had for you, Este, this email, it says, "Hey, you want to come by later and hit some tambourine? Maybe some bass." I thought that was for a Lady Gaga album.

Alana Haim: That was later. Lady Gaga was later. You're the reason why Este is the hottest tambourine player on the scene.

Este Haim: It might be vice versa.

Mark Ronson: Yeah. You came and played on...

Este Haim: I think Adele was first.

Mark Ronson: Yeah. It would have been.

Alana Haim: Joanne didn't come out that long ago.

Mark Ronson: No. No.

Este Haim: Well, whichever it one it was, I was at Electric Ladyland with you.

Mark Ronson: Yeah. Yeah.

Este Haim: You actually also did me a favor. Do you remember why?

Mark Ronson: I gave you publishing on the whole album?

Este Haim: Oh no.

Mark Ronson: I'm still in trouble with Gaga for that. No.

Este Haim: You had sent that or something and I wasn't going to be in New York and then when you sent that, I was like, "Oh, I have a reason to be in New York" and I was dating a guy that was in New York at the time.

Mark Ronson: Okay.

Alana Haim: You used Mark as an excuse?

Este Haim: I was like, "Well, guess what? I'm working now."

Alana Haim: "I have work."

Este Haim: "I have work now."

Alana Haim: "I have work doing claps and tambourine on the Adele record."

Este Haim: "I'm at the studio with Mark Ronson."

Alana Haim: "I'm so sorry."

Este Haim: "I have to be in New York."

Alana Haim: "I also can't use my hands for anything for the next 48 hours because these hands are for Mark right now."

Este Haim: "For Mark Ronson."

Alana Haim: "They're gold. I'm so sorry."

Este Haim: I basically had an excuse to go to New York.

Mark Ronson: That's great.

Este Haim: We had just started dating. It was very, very new.

Mark Ronson: Yeah.

Este Haim: I had a reason, and a very impressive reason, at that. I was like, "I'm playing on the new Lady Gaga record."

Alana Haim: Literally, Este is on the packaging being like tambourine by Este Haim on Joanne and on Adele because of you.


Mark Ronson: But also because I've gone to your shows and you're all really great percussion players but I really just remember ... It wasn't like a favor. I was like, "Oh, who has a really good feel?" I was like, "Oh, I remember watching Este." I remember we had done some sessions together.

Alana Haim: I'm honestly offended. My whole section is fucking maracas and tambourines and you choose Este. I'm offended.

Mark Ronson: I think it started as bass. I think it started as bass but then I knew that you played a tambourine way better than me. I mean, we should definitely talk about the other times if we're going to talk about some of the high points, the things that I've definitely wasted all your time in the studio and doing a cover of "Ghostbusters."

Alana Haim: No. This is fun as fuck. I could do this all fucking day. I miss you, Mark.

Este Haim: Who you going to call?

Mark Ronson: We went into the studio to potentially work on some ideas for what your album two would have been and instead, I was like, "I'm also supposed to be doing some music for this Ghostbusters reboot. Do you guys just want to learn "Ghostbusters?"" Which really was a waste of your time. I'm sorry.

Este Haim: I thought it sounded great.

Alana Haim: I am shocked that they didn't choose our version of "Ghostbusters." Come on. It would have been incredible if they did. We did the whole thing.

Este Haim: Maybe we'll just leak it.

Alana Haim: It was fucking great. We should leak it.

Este Haim: We should just leak it.

Alana Haim: We should just leak all of our things that we've done together.

Este Haim: All our demos that we've done with you.

Mark Ronson: Then also the Howard Stern song...

Alana Haim: I wasn't going to bring it up.

Este Haim: What is going on with that?

Alana Haim: I wasn't going to bring it up because I know it's a sore subject. Do you want to explain what it is?

Mark Ronson: Someone at Howard Stern knew that I was a huge fan of the show and they were like Howard's been playing around with this idea of maybe doing a song. It's like, "Why can't I have a big song? Rick Dees had "Disco Duck." I want my number one song. I've conquered all the rest of media." You know? Or whatever he said.

They knew I was a huge fan and I was like, "I'd love to put my hand up" and so as we started to flesh out the idea, I don't know if I knew that you were fans, but I just knew that you would be great on the record. There was the energy. Anyway, I think I just made a shitty song. It's nobody else's fault except my own.

Alana Haim: It wasn't a shitty song.

Este Haim: It wasn't a shitty song.

Alana Haim: But the thing that I will say, because an article came out that was like HAIM, Mark Ronson, and Howard Stern are going to be doing a song together. The amount of fucking calls I got. I don't get any fucking calls ever. No one is like, "Oh my God. Fun." They're like, "Yay. Your record came out" or whatever. The amount of calls being like, "This is the biggest thing that you've ever done in your whole life" and I was like, "I know."

Mark Ronson: Tell me about it. Yeah.

Alana Haim: It will never come out. I'm sad about it.

Este Haim: Should we do a redo? Should we try again?

Alana Haim: I know. We should maybe try again.

Mark Ronson: Well, I heard that he said some really nice stuff about your performance at the Grammys.

Alana Haim: Oh, that's good.

Mark Ronson: It's like on the radar. I know he knows that there's good will there. I just think that he's also exceptionally smart about exactly what he should do. Anything he's ever done from Private Parts to the book to the new book is always just knocked out of the park because he knows exactly his limitations and his place. You can't be as big and important as he is for so long without doing that.

I think there was just something in that song that wasn't quite right. I think I made it a little corny or something.

Alana Haim: No. You didn't, Mark. Don't you talk to yourself like that, Mark.

Mark Ronson: It was a real all-star Jew crew. There was Ezra and Nick Kroll, you guys. You know?

Este Haim: I know. We need to try again.

Alana Haim: I think we can try again. So many people are disappointed.

Este Haim: Since then, since that article came out, I do get texts from four people every three months asking about it.

Alana Haim: They're like, "Where is it?"

Mark Ronson: What's up? Yeah.

Alana Haim: "You guys lied."

Este Haim: Just asking or, "Can you just send it to me?" Like on the sly.

Mark Ronson: I think that I've never felt so cool and important as that little two month window of when I was on the show when he said there was a song happening and people would stop me or an Uber driver in New York ... That's all they want to know. I wanted to make it great because I love Howard but I just don't think that it was really that shit.

Alana Haim: Well, one day we'll figure it out.

Este Haim: Honestly, I'm okay to actually devote the next six months to that.

Mark Ronson: Yeah.

Alana Haim: We also have to make another record but we'll figure it out.

Este Haim: Priorities.

Mark Ronson: How's it going? Are you working on HAIM four? Are you thinking about it?

Alana Haim: Can we call it HAIM Four? We've never done like a self-titled album. I feel like every band needs a self-titled, like just HAIM.

Este Haim: I don't think we should.

Alana Haim: I remember when we were making Days Are Gone. We were like, "Do we just call it HAIM?" Then were like, "No."

Este Haim: I don't want to do that.

Mark Ronson: No. Days Are Gone is really good. It's cool to save the self-titled.

Alana Haim: We'll have some other names coming up. Yeah. We're already writing. I think it's like very early days. I feel like I'm taking like I'm in Love Island. It's, "Early days, mate. It's early days." But it's very early days. We just made up our setup and we're just writing and figuring out what the vibe is.

Este Haim: We try to write every day.

Alana Haim: We try to write ... I mean, the way that Danielle ... I basically learned songwriting through ... I mean, obviously, listening to the greats but I also am just so in awe of my sister. I think that she's just an incredible songwriter. She's always just had this motto of like, "Don't put pressure on yourself. Just write a chorus or a verse or something just every day to keep your mind going."

Este Haim: It's weird to be a fan of [crosstalk 00:17:54].

Alana Haim: Of your sister.

Este Haim: Yeah. Your sister.

Alana Haim: I mean, she's going to listen to this and be like, "No."

Este Haim: We're fans.

Alana Haim: We're big fans.

Este Haim: I'm a fan of you too.

Alana Haim: I'm a fan of you too. I love you.

Este Haim: Mark Ronson's a fan of my bass playing.

Alana Haim: I know. Well, I'm like still upset about this situation.

Este Haim: I'm going to keep bringing it up. I'm going to take that to the bank.

Alana Haim: It's very annoying. I don't like it.

Este Haim: I'm going to take that to the bank.

Alana Haim: Yeah. I feel like you need to work on it. We always talk about the ... There's always those songs that come to you in the shower or you're walking down the street and you're like, "Wait, what?" And they're like the best things that you've ever written but that fucking comes maybe once every 14 years and you're like, "Okay. Cool. I need to make a record." We're in the experimental stage, if you will.

Este Haim: But it is like a muscle. I think you can agree, it's like a muscle that you have to flex. If you write 100 songs, hopefully, one of them will be ... You just need output.


Mark Ronson: The start of the writing process for any album can be terrifying and especially if you already deal with a healthy case, or a massive case, of anxiety and you've been anointed as the saviors of modern guitar pop.

Basically, you have your entire life's worth of experience to put into your first album and zero expectation level from the public. Then if it does well, for your second album, you have about 12 months to find enough life experience to write about and then there's the pressure that it also needs to be better than the record before it. And repeat.

You can tell that the writing process is something that haunts HAIM to the core because they, obviously, take a good while between albums. That point where anxiety and perfectionism intersect is crippling to any creative.

Then you have to combine the fact that there are individual voices between these three sisters that all need to come through. I can only really imagine the intense process of songwriting within this band.

We did do one session and I remember Danielle was coming up with melodies while Este was in her book of poetry finding lyrics and Alana was shredding some guitar riff. I'm sure it changes on every song.

They are also constantly challenging themselves to push the sonic boundaries of their music, inserting really interesting, unexpected elements to their sound with cool drum programming or a sax solo, never settling on the more obvious tropes of being a guitar band. It's really not unlike how their hero Joni Mitchell used unconventional guitar tunings that were fully her own to really push the boundaries and change the sound of folk and pop in her day.

Alana Haim: It's also just weird because we've put out a record and usually you put out a record and go on tour and touring is like our favorite thing to do and we considered ourselves a live band.

Mark Ronson: You are a live band. I remember that festival, the first time I saw you, we were playing the same festival in Croatia on that beautiful island, that Modular festival.

Este Haim: Oh my God.

Alana Haim: Oh my God. Hvar.

Este Haim: Oh my God. Hvar fest.

Alana Haim: Which so many people also talk to me about. I felt like there was only 12 people at that festival but I feel like I've run into so many people being like, "Yeah, I saw you in Hvar." I was like, "Wait, you were there? There was like no one there."

Mark Ronson: You played in some ancient Croatian ruins that was some Game of Thrones shit and you would have thought maybe there were 12 people in there because there was so much smoke. I just remember seeing you guys rocking out on SG guitars and just being like, "Oh, the rumors are true. This is fucking insane." This is 2014, the summer, I remember. You were saying you miss ... You are a live band for sure.

Alana Haim: Yeah.

Este: I miss touring.

Alana Haim: Putting out a record, especially a record that while we were making it, we were very much like trying to figure out how to do it live.

Este Haim: Like what the stage is going to look like.

Alana Haim: Yeah. Also, we were really excited about this idea of maybe just for a large portion of the tour, we would just do it as a trio because we used to just play just us three and we've never really done that since we started and it was just like a really fun idea. Now I'm spoiling our tour announcement but there will be a trio portion of our tour with Danielle playing drums, me playing guitar, and Este playing bass.

Mark Ronson: Awesome.

Alana Haim: But then COVID happened and so now we're not on tour. It's weird to put out a record and I feel like my body is just ready to tour. It's like what are you doing? You're home?

Este Haim: I'm so ready to tour.

Alana Haim: You're fucking home? Get off your ass and get on the bus and go on tour. We're really just waiting for the call. I mean, everyone keeps asking us when the tour is happening. It's not up to us. It's up to the powers that be when they start opening venues.

Mark Ronson: You'll definitely tour this record, though. It won't be like jump right into album four without touring the music?

Alana Haim: 100%. Well, I don't know. It kind of just depends on how it goes.

Mark Ronson:You can play New Zealand and Australia.

Alana Haim: I know.

Mark Ronson: I'm sure you're huge there.

Alana Haim: Dude, anyone there, any promoters that want us to fucking go over there, I'm down. Get us on a plane. I'm very down. I just want to play. We got to play the Grammys, which was also the ... I mean, talk about SNL. The Grammys, that was like a pipe dream. I was like, we'll never play the fucking Grammys.

Mark Ronson: That was the first time you played the Grammys?

Alana Haim: Of course.

Mark Ronson: Wow. Oh, wow.

Alana Haim: Are you kidding me?

Mark Ronson: Amazing. Well, you were up for Best New Artist and stuff.

Alana Haim: We were.

Mark Ronson: Yeah.

Este Haim: Yeah but that doesn't mean you get to play the Grammys.

Mark Ronson: Right.

Alana Haim: When we got asked to play, we were like, "What? Really?"

Mark Ronson: Yeah. Yeah.

Alana Haim: It was just like this crazy experience to play the Grammys and we got a little taste of playing live again because I haven't played live ...

Este Haim: In over a year.

Alana Haim: Since the record came out. We did a little live stream from Canada.

Este Haim: Like in front of people.

Alana Haim: In front of people that aren't each other that were the cast and the crew of the Grammys or whatever. It was like having that little taste was like, "God, I fucking miss this. I fucking miss plugging in my fucking guitar and playing."

Mark Ronson: If you miss it, imagine how much the crowds miss it and what the crowd and the energy is going to feel like, like the release from the people as well. That's going to be so insane.

Este Haim: I'm also just like, as an audience member, the reason I think that my sisters and I love touring so much is because we also love being an audience member too. I dragged Alana and Danielle to gigs when I was probably 17 so Alana was like 11.

Alana Haim: Actually, when we were talking about the Kings of Leon, it actually brought up a story of when HAIM was starting out, I remember playing the Satellite, that wasn't the Satellite then, it was called Spaceland. We had gone to go to Spaceland and not told them that we had an underage person in the band. They were like, "You can't come in", to me, they were like, "You can't come in." I was like, "I'm in the fucking band, man. I've got to get in there." They were like so upset that this band had come in with an underage person because, I mean, to be fair, you can lose your liquor license. I wasn't drinking. I just wanted to play. I remember they made me stand outside and I remember I had to pee so fucking badly. I remember standing outside and being like, "Please", to the bouncer, with my hands clutched like, "Please, I need to pee. I'm going to pee in my pants and then I have to go onstage and if I have a pee pee stain on my pants when I go onstage, I'm not going to be happy. I just really need to pee." He was like, "No" and literally like five minutes before the show happened, they let me come in. It literally was like Road Runner. You saw the outline of my body in smoke and I hightailed it. I think the bouncer thought that I was hightailing it to the bar. I have no idea. But literally the bouncer started running after me. I was like, "I just need to pee." Like they were going to grab me and take me out.

Este Haim: Tackle you.

Alana Haim: I was like, "No."

Mark Ronson: That toilet is pretty far back in the venue. I can picture that toilet. You got to go all the way back and there's this weird VIP, smoky room.

Este Haim: It's like a labyrinth.

Alana Haim: I was like, "I swear to God, I'm going to pee my pants." Sorry. I cut you off. Continue.

Este Haim: Oh, no. I remember going to see shows and every time I would go, it gave me more gas in the tank to be like, "This is what I want to do." With Danielle and Alana too and all three of us, especially at Spaceland, there's that iconic curtain, the blue and silver curtain ...

Alana Haim: I think the Satellite is closed.

Este Haim: It's closed.

Alana Haim: Which is so sad.

Este Haim: Which is really sad. I had a fake ID, Danielle had a fake ID, and Alana had a fake ID. Alana had braces. I remember every time we would go out, I'd be like, "Don't open your fucking mouth. Don't let him ..."

Alana Haim: They knew. Este knew if I fucked up, which also, notoriously, in my family, I don't have a poker face, it's like a running joke in my family, I wear my emotions on my face like so fucking easily. You can tell, "Okay, out of the crowd, who doesn't belong here? You don't belong here." It's been like a running joke in my family because, again, I get nervous and start sweating and my eyebrows start clenching up. It's like, you're not supposed to be here.

Este Haim: Just be cool.

Alana Haim: Este would know, Este would know if I didn't get into the bar, she would have to drive me home and miss the show. She couldn't leave me in the fucking car and I couldn't walk around by myself. Every time, she'd be like, "If you open your fucking mouth and you show your fucking braces, we're not getting into this club so shut your mouth. You're going to get in." I was like, "Este, I don't think I can do this." She's like ... Literally, it's like a movie. She slaps me on the face, "You can fucking do it. Shut the fuck up."

Este Haim: "Get it together, Alana."

Alana Haim: "Get it together. You get it together." Este would talk to the bouncer while I would be like ... Like give my ID and Este would just...

Este Haim: I would like Jedi mind trick the bouncer and just be like, "We're just three LA girls trying to see a band."

Alana Haim: "Just graduated from college" and I'm like 12. I'm like, "Fuck. Here we go."

Este Haim: Once I got my license, we would go over the hill and go see shows and that was like music school for us because we would see bands. We were such big fans of the LA music scene and a lot of the bands that came out of the LA music scene at that time.


Mark Ronson: Shout out Phantom Planet. We got to shout out Greenwald.

Alana Haim: Oh, Phantom Planet.

Este Haim: Shout out Alex Greenwald. I mean, I saw them in like 2003 at the Roxy.

Alana Haim: We got to open up for them ... They did a reunion show at the Troubadour and they asked us to open up for them. One of my favorite songs of theirs, I think it was on a reissue of one of their records but it's the song "The Galleria," which is literally about the valley. It's about the '94 earthquake and all valley references.

Este Haim: [singing] I'm going to miss the Galleria.

Alana Haim: It's one of the best songs about the valley, other than, I mean, obviously, Tom Petty "Free Falling" is the ultimate valley song.

Este Haim: Gold star.

Mark Ronson: But he's from Gainesville.

Alana Haim: Right.

Este Haim: But he lived in the valley.

Alana Haim: It was a big deal and that was my favorite song. We got to sing "The Galleria" ... We didn't even tell Phantom Planet that we were going to sing it and then Alex came down and sang it with us.

Mark Ronson: That's so cool.

Alana Haim: It was one of the biggest moments of my life. I was with my best friend Sammy at the time and I remember watching them play on the steps of the Troubadour and we both looked at each other and we were like, "What the fuck? This is it, man. This is fucking it. You fucking nailed it. Oh my fucking God. We're opening up for Phantom Planet." My favorite band growing up.

Mark Ronson: Yeah.

Alana Haim: Shout out to Phantom Planet. Love you guys.

Alana Haim: Shout out Alex Greenwald.

Mark Ronson: Shout out Alex Greenwald.

Este Haim: Shout out Alex Greenwald.

Mark Ronson: I guess the other thing as well, this is more like from a journalist thing, but I was reading that article and there was one thing, and it wasn't even like a snide comment, but it was saying how great the harmonies, the melodies, and it said, "Maybe not the most witty lyrics", talking about the first record. I think the reason I was bringing it up is because now you listen to the last album and there's some of the most beautiful, pathos, in-depth "Man From the Magazine," like there's so much in it, they're so emotional, they're funny, they're snide. You've kind of dusted off any of that. I just feel like the way that you matured on this record is just all there.

Alana Haim: Thank you. Thank you.

Mark Ronson: I think we're both ... I'm older but we're both traditionalists in some ways. There's things that we really love about certain influences from some eras that are in your DNA, but I feel like with this record, especially with the production, the sound, the arrangements, and the lyrics, you just cut any of the umbilical cord to that shit and I just thought that was kind of cool.

Este Haim: Thank you.

Alana Haim: Thank you. I thought that our lyrics were witty on the first record, I have to be honest with you. No, it's true. It's like with any songwriting. I mean, when you look at Days Are Gone, we wrote "The Wire" in 2008. In 2008, we put out Days Are Gone in ...

Este Haim: '13.

Alana Haim: 2013. In 2008, how old was I? Like fucking 16.

Este Haim: You were 16.

Alana Haim: 16. You have to grow. Even talking about this record, we really made a point to be like there are things that are really fucking hard to talk about and there are things that I don't even like to talk about with my friends, like things that I don't like to talk about with my sisters, things that I don't like to unearth like demons that are like dark passengers that are in your body that you're like, "The second that I open up this fucking wound, everything is going to come out."

We finally were just like, "We have to. If we don't, we're not going to make anything that we like." All of the stuff before, what we were writing, was very on the surface, didn't really know what we were doing and we made a conscious decision to be like, unfortunately, we have to talk about this shit and we really have to fucking go there and we really have to ... While making the record, it was a super fun experience but it was also very hard. I mean, even writing "Hallelujah," it was one of the quickest songs we had written, but I think it was because we just had so much on the subject.

Este Haim: We had some ammunition.

Alana Haim: We had some ammunition and it just came very quickly. I'll never forget the day that we wrote it.

Mark Ronson: What is the ammunition?

Alana Haim: Basically, the day that we wrote "Hallelujah," one of our friends is Tobias Jesso Jr., which I know you know. I mean, I knew him I want to say like right when he moved to LA. We never really worked on anything together. We were going to the studio, the same studio that we wrote Days Are Gone in. There's like this magical room that we like to talk about where it literally has no flavor.

Este Haim: There's no windows.

Alana Haim: There's no windows. It's a concrete box. It's in Burbank. We wrote I want to say 75% of Days Are Gone in this room and it changed our lives. I mean, Days Are Gone obviously changed our lives, our first record.

We were like, "Why don't we just go back to the room and see what happens? We'll bring Tobias" and whatever. We got in there and as cheesy as it sounds, we had always wanted to write a song about being sisters because we're so close and I can't imagine existing without my siblings. We're like the closest siblings that I feel like exist. If I wasn't doing this, I would still be at Este's house. I see Este and Danielle every day. They're my puzzle pieces. I was blessed with being born with my puzzle pieces.

We had gotten into the studio and we had this line, "Why me? How'd I get this hallelujah?" We kind of all took that prompt and like, "Okay, what do you want to write about?" For me, it was very obvious. Right before Days Are Gone came out, my best friend passed away, Sammy, who was with me at the Phantom Planet concert, she got killed in a car accident. I think I was 20 years old when it happened.

Then four months later, we started tour. It was a very quick turnaround. It was the most devastating thing to ever happen to me. Like literally up until we were writing for Wimpy [Women In Music Pt.III], I would talk about it and I would try to write about it but it was one of those things where it's like ... Anyone that loses someone, as the years pass, it's easier to talk about them, you don't immediately burst into tears when you talk about them.

But for a good couple of years, if anyone ever mentioned her, I would be inconsolable. It was like she was supposed to be with me for the rest of my life. She was like my puzzle piece that I wasn't born with. She was like my girl and it was like one day she was here, next day she was gone, and I never got to say goodbye, I never got to tell her I loved her, I never got to hug her for one more time. It was just the most devastating thing of all time.

When we were writing "Hallelujah," I was terrified to write about her and I had mentioned to the group, to the class, maybe I should write about Sammy and Tobias was like, "Do it." I mean, even when I listen to "Hallelujah," my verse, you can't put a person in a verse. You can't fit a person that is so fucking important to you in your life into six lines and that was the thing that was so excruciating. Even when I listen to "Hallelujah," I'm like, "Did I even pay homage to her in the right way? I could do so much more. There's so many things that I want to say about her. There's so many things that I want for her to live in this song." It's such an important song. I'll always feel that way. I'll always feel that crazy about it.

It goes into what we were feeling during making this record, it was like I really did not want to talk about it, and then, of course, when it came out, I had to talk about her a lot, which was also a very insane experience and going back into that time and thinking about the day that she passed away. It was like not only did I put her in a song but I was like, "Oh, fuck. I'm going to have to talk about her to people." Even like journalists and stuff where I'm like, "I don't know you. I don't even know if I can even talk about her to you." It's a very hard thing.

The one thing when we were writing it, I was like, "How the fuck am I going to sing this live?" Even recording it. I think the take that we used is the only take that I wasn't hysterically crying through. That song was just so important and it honestly does encapsulate a lot ... That was one of the first songs that we wrote, other than "Summer Girl"... "Summer Girl," "Now I'm In It," and "Hallelujah" were like the three songs that were really just showing their hands as like, "Okay, these are the three songs we're starting with." It was like these are the ones that are done.

Having "Summer Girl," "Now I'm In It," and "Hallelujah" as a clump, it was like you can just tell ... At least, for me, I'm like, "Fuck. We were going through a lot of fucking shit, even writing these three songs."

Este Haim: That's the ammunition I'm talking about.

Alana Haim: That's the ammunition.

Mark Ronson: Yes. I think you feel that and now that you say that, I was listening today and it is also because your voices sound beautiful and it is a beautiful song, but I instantly got a lump in my throat. I actually texted Danielle. I was like, "I'm sorry I'm not going to see you later but I've been listening." It definitely comes through without me even knowing what the song is about.

Alana Haim: That's why Wimpy, to me ... I mean, it's the baby of the family, obviously, and it's the third out of all of our records so, of course, it's my favorite record.

Este Haim: You're just going to always love it because it's the baby.

Alana Haim: I'll probably always love Wimpy but it really is the first record where I look at it and I'm like ... Our references were very specific on this record. I think you can tell. I feel like on maybe our last record, you know what it's about, but these records it was like very specific. When you listen to "Another Try," that literally is a page out of my diary. Like literally, it's like a relationship that I had gone through that literally kept repeating over and over and over again. It's like even referencing the hats and the things that were in my car that I couldn't leave ... It's just very specific. He hasn't reached out about it, though. Funny enough.

Este Haim: I hope he doesn't reach out.

Alana Haim: Yeah. This record is just like so specific and it was so how we were feeling since we started.

Mark Ronson: I remember listening to Women In Music for the first time and hearing HAIM's "Hallelujah," I was so fully overwhelmed by the emotion, complete lump in the throat, the way the sisters passed the mic verse to verse, the way they harmonized. You know that whatever that song is about, it's certainly being felt 300% by them as they're singing it down.

I don't think I had any idea what the song was about. It was just a full emotional reaction to the music. I didn't know its subject matter until we spoke and Alana shared that it was about her tragically losing her best friend in a car crash.

All this really just goes to show the power of emotion through song. When an artist puts such an intense pure feeling into it, that it's visceral. It really could be in a foreign language and we'd still feel that pain.

I watched the other day Documentary Now, my favorite episode. Well, that whole show is incredible. There's really not a bad episode. There's some really beautiful ... For anyone who doesn't know, it's the Fred Armisen/Seth Meyers and what's his name? Bill Hader. They made this amazing show that each episode is a parody of a famous doc or some kind of style of a doc. Everything from a Vice-style doc to Grey Gardens to music.

Este Haim: The Grey Gardens episode is so good.

Mark Ronson: This is story of the Blue Jean Committee and going to the movies.

Alana Haim: Going to the ... I mean, that was the biggest honor for them ... I feel like there's a lot of biggest honors on this podcast also ... I'm very grateful for everything that has ever happened in my life but ...

Mark Ronson: That is actually a quote from the Blue Jean ... That Fred Armisen says that in one scene, he's like, "I'm very grateful for the magazines and the people that wanted to see my mug."

Este Haim: Relatable.

Alana Haim: But my favorite rock-umentary is The Eagles rock-umnetary where it's like a two-part documentary.

Mark Ronson: Hell Freezes Over.

Alana Haim: Yes. There's two parts. The second part, not my favorite.

Mark Ronson: Yeah because the second part is about the reunion and the Unplugged and it's not ...

Alana Haim: No shame to the documentary. It's my favorite documentary.

Mark Ronson: But the first half is the golden '70s footage. It's everything. It's incredible.

Alana Haim: If any listeners have not seen this documentary, I just watch it for fun. I must have watched it like 55 times at this point.

Mark Ronson: When you want to see Don Henley just smash a windshield in.

Alana Haim: Oh, hell yeah.

Mark Ronson: Which they literally just take the whole thing for the Blue Jean Committee documentary.

Alana Haim: Yes.

Mark Ronson: It's so good.

Alana Haim: The Story of the Blue Jean Committee was based on this documentary and so when they said, "We're doing an episode and it's based around the documentary with the Eagles" and I was like, "Say less. I'm fucking there." Literally, tell me what day, what time, I will make myself available, this is my dream.

Mark Ronson: I love it so much.

Alana Haim: The songs were so incredible. "Catalina Breeze" ... There was another one.

Este Haim: "Dance With Your Mother?"

Alana Haim: "Dance With Your Grandma" or something. There was the craziest things. Literally, the prompt was we all came to my house, they brought cameras to my house, and they were like, "Instead of saying the Eagles, say Blue Jean Committee." It was one of the best experiences of my life. It's so fun. Everybody go watch Documentary Now and also watch the Eagles documentary.

The Eagles were the first band that I ever saw play ever in my life. That was like the beginning ... Joe Walsh is one of my favorite guitar players. I met him at a party once. I think you were there. It was like after a fashion party thing for Stella McCartney. I think you were there.

Mark Ronson: Okay. It was like a concert. She put on a mini-concert in LA for her line and all these people got up and jammed.

Alana Haim: Yeah. We got invited. There was this after-party. Literally, I feel like every celebrity was there and we were just in a corner drinking and eating Mexican food. We were just like, "We feel so out of place." Literally, Joe Walsh walks in and I swear to God ... I mean, in my mind, I dropped everything that was in my hands because I had never seen him in person before.

My earliest memory of music is me going to the Corona Amphitheater in San Diego when I was eight years old. He played "Life's Been Good" to a huge arena crowd and the gag for that song was he put on this hard helmet, this yellow hard helmet that had literally a camcorder, like a Costco camcorder on it because they didn't have Go-Pros back then.

Mark Ronson: He's filming the crowd?

Alana Haim: His version of a Go-Pro ... Yeah. He was literally playing and all you could see on the back screen, this huge screen, was like everyone losing their shit.

Este Haim: Losing their fucking minds.

Alana Haim: He was playing guitar ... I mean, that song is fucking incredible. I listen to it at least once a week. Watching him play guitar and also do the voice box in there. I was like this is what I need to do. I was like I want to be that.

Mark Ronson: Yes.

Alana Haim: At this party, the whole party ... It was literally like a movie where the hot guy walks in, except instead of the hot guy, it's Joe Walsh.

Este Haim: Still a hot guy. Still a hot guy.

Alana Haim: I mean, it's still a hot guy. I fucking love Joe Walsh. I was getting hyped up by my friends being like, "Just go say hi to him" and I was like, "I can't say hi to him. He's fucking Joe Walsh. I can't say hi to him."

Este Haim: Also, who was he talking to?

Alana Haim: I don't remember.

Mark Ronson: Alan Alda. He was talking to Alan Alda. Alice Cooper. Somebody.

Este Haim: He was talking to Ringo Starr.

Alana Haim: Oh, okay. Well, yeah. I mean...

Mark Ronson: Intimidating.

Este Haim: Casual. Very casual.

Alana Haim: Of course. Of course, I mean, that's the cool table.

Este Haim: The most intimidating two people to speak to.

The cool table at the party. I was like, "I can't go say hi. Then finally, I think I had probably drank like 14 margaritas at that point. I had liquid courage. I went up to him and I literally was like ... I told him the story. I was like, "When I was eight years old, I went to the Corona Amphitheater. You played "Life's Been Good." It changed my life. You're the reason why I play guitar." He literally was like, "What?" He was so confused. He's like, "How old are you?" I think at the time I was like 22. He was like, "You were there?"

Just so confused that this 22 year old girl was like, "These are the reasons why I love you. You played at the Corona Amphitheater. I was there. You played "Life's Been Good." You had a hard hat on with a camera on it." He was like, "Yes. Yes. Okay. Crazy." I was like, "I just want to tell you that I love you" and then I slowly just backed away and was like, "My life is now complete. I told Joe Walsh that I loved him."

Mark Ronson: I had a very similar story with Chris Cornell. I was on vacation with my family somewhere. This is like more recently. It was in Greece. Well, obviously, because he passed tragically recently but this was about four or five years ago. I would see him every day at the beach. I was such a huge Soundgarden fan as a kid and I saw Soundgarden and Danzig at the Beacon and I saw Soundgarden ... We even went to see a Guns N' Roses show just because Soundgarden was opening.

Alana Haim: Whoa.

Mark Ronson: I fucking loved them. I love Guns N' Roses too but really, really there was a point where Soundgarden were my favorite band. Every day, I would nearly go up to him and say on the beach ... As I would get closer, "No. He's with his family." I'd make up a neurotic reason in my head why it was but it was just because I was too much of a pussy to go up.

I think it was like my last day after seeing him, like five days in a row on the beach and not going up to him, that I decided to go out on a dinghy, like a boat ride with my dad and my brothers, and as the boat is leaving the dock, I see Chris Cornell and I'm like, "This might be my last time" so I jump off a moving boat as it's pulling away from the dock. I miraculously land on the dock. I just run and I haven't even caught my balance or anything where I just realize that I'm actually now right in front of him. I go, "I wanted to just say that I saw you at the Beacon theater in 1992 with Danzig and you're so amazing and "Seasons" from the Singles soundtrack, your solo song, is one of the greatest songs ever." He just looks at me and goes, "You were at that show?"

I guess I look a little younger. He was like, "You were at that show? How old are you, kid?" I was like, "Flattery will get you everywhere, Mr. Cornell." No. It was just so amazing. I mean, I've also embarrassed ... I've gone up now because I am older so I have been in a room with a lot of heroes and I've had some of the most embarrassing ever but they're always endearing if you're genuine, at the end of the day, because ...

Alana Haim: Of course.

Mark Ronson: No matter how they react, what does it matter? You got to tell this person how important they were to you. When they're nice as well, then that's even more incredible.

Este Haim: Oh, of course. We have no shame when it comes to that.

Alana Haim: I mean, it takes me 14 margaritas but after 14 margaritas, I don't even know. I'll fucking go bungee jumping. You can get me to do anything.

Este Haim: That same party, I drank the liquid courage and went up to Quincy Jones. We have the same birthday. That was the first thing that I said. I was like, "Mr. Jones, I just have to tell you, I'm such a big ..." I went through the whole I'm such a big fan, you're literally ... When I think of my favorite records, you're responsible for most of them. But also, fun fact, we have the same birthday. He was like, "Friday, March 14th? You're a Pisces?" I was like, "Yes." Then he was like, "Sit down." We had a full-blown date.

Mark Ronson: Nice.

Este Haim: Me and Quincy Jones at this party.

Alana Haim: I'm at the other side of the party. I'm already have adrenaline from meeting Joe Walsh. I look over and Este is talking to Quincy Jones and I was like, "What is our fucking life?" I don't even know ... This is like my wedding day.

Este Haim: He was probably like holding my hand. We were holding hands.

Alana Haim: This is my wedding day, my fucking prom, and my fucking firstborn.

Este Haim: Wild.

Alana Haim: Like wrapped in one fucking night. I was so fucking stoked. No shame.

Este Haim: That was a wild night. It's not lost ... When we have nights like that, my sisters and I will come together at the end of the night and literally say like, "What is our life? What is our life?"

Alana Haim: I mean, mind you, it's not like they were like, "We love your band." I was really just like a fan being like, "I love you. Here you go."

Mark Ronson: That party was insane.

Este Haim: You were on that balcony, right? You were with the cool people.

Mark Ronson: No. This must be a different party. I wasn't on a ... I thought it was like an SIR rehearsal space and there were different rooms and then the band.

Este Haim: There was an after-party but it was near SIR.

Alana Haim: It was at Amoeba. It started at Amoeba.

Mark Ronson: Oh, I didn't get to go to the Amoeba part. Then there were performances.

Alana Haim: There were crazy performances. I think the Beach Boys performed, which is also a fucking crazy thing. I don't think I've ever been happier in my whole ... I mean, again, life is fucking crazy. Life is crazy.

Mark Ronson: Life's been good to you so far.

Alana Haim: I don't have a Maserati. It doesn't go 135. I didn't lose my license. I can still drive. It's all good.

Este Haim: Barely. Barely. Alana is a terrible driver.

Alana Haim: I am a terrible driver.

Este Haim: I do not feel safe. Do not feel safe with her. If she ever offers to give you a ride, do not take it.

Alana Haim: That's mean.

Este Haim: It's true. She's not a good driver. I'm a great driver.

Alana Haim: I'm not. Este is the driver. I didn't get my license until I was 18 because I was scared to drive.

Mark Ronson: I didn't get my license until I was 25 because I was coming to LA because at the time, I was dating our friend Rashida and I was like, "Oh, I'm in LA.

Alana Haim: Rashida.

Este Haim: Full circle.

Alana Haim: Quincy Jones. There you go.

Este Haim: Full circle.

Alana Haim: Rashida, we love you, Rashida.

Este Haim: Love Rashida.

Mark Ronson: Does Rashida know you dated her dad? That's weird.

Este Haim: I mean, honestly, I would.

Mark Ronson: What are you doing for the rest of the day? Are you going to the studio?

Alana Haim: No. I think we're going to just eat matzoh.

Mark Ronson: Rice is okay because they've said ... There are new rules. Rice is okay. Quinoa is okay.

Alana Haim: Breaking news.

Mark Ronson: But no granola. No pasta.

Alana Haim: No granola. Obviously, no pasta. Nothing like that.

Este Haim: Corn is okay.

Alana Haim: Corn is okay. Big news.

Mark Ronson: Corn is okay. We're talking about things that are kosher to eat for Passover, by the way.

Este Haim: We always thought that rice was okay because my dad is Sephardic and my mom is Ashkenazi so it went from my dad's rules.

Alana Haim: Well, it would go by whichever rules applied that made us eat things that we shouldn't eat.

Mark Ronson: Yeah. Of course. Passover can be tough. When you are just cooking at home, trying to rustle something up, you're like, "Wait, what the fuck?" Then I'm looking at the back of the box. I even went to get an energy bar just before this because I knew that I wanted to be on my best for you guys.

Alana Haim: Oh, nice. I just stick to matzoh pizza, matzoh with peanut butter and jelly.

Mark Ronson: Matzoh pizza?

Alana Haim: Matzoh pizza.

Mark Ronson: You make it? You make the matzoh pizza?

Alana Haim: Yeah. You have matzoh as your dough and then you put a little bit of sauce and you put some mozzarella, you put it in the oven, bada bing, bada boom, and you got a matzoh pizza.

Mark Ronson: Wait. You guys are Jews and you're talking about just eating cheese like it's nothing? I can't eat cheese. Mozzarella?

Alana Haim: Mozzarella. I mean, my tummy has been grumbly since birth.

Este Haim: I'm just used to it.

Alana Haim: I'm just used to it.

Este Haim: Isn't that a way of life? Aren't you just used to IBS?

Alana Haim: Este, goddamn it.

Mark Ronson: Yes. But I also have now just tried to cut some of the things where I can be smart but will you send me that recipe for matzoh pizza? I think I'm going to make that tonight.

Este Haim: It's a lot easier than you think.

Alana Haim: You're in New York right now?

Mark Ronson: Yeah.

Este Haim: If you need any tambourine ...

Alana Haim: For any of your future records.

Este Haim: For anything else, I might be in New York Saturday.

Mark Ronson: I'll be back Monday. Just come to the studio and hang for a minute. I moved back to my old studio on Mercer Street. There will be some tambourine. There will be something to do. Go get a coffee.

Este Haim: Sick. I'll lay down some fatty fat bass lines.

Alana Haim: Este is just going to come up with only tambourine lines, just tambourine loops, that's it. And like shaker loops.

Mark Ronson: That's where we make the splice loops in my studio, the tambourine loops. All right. Definitely hit me up if you come. Alana, I hope I see you soon as well.

Alana Haim: Well, when you come to LA next.

Mark Ronson: Yeah. It'd definitely be good to hang. I think by the time I'll come, everybody will be vaxxed anyway, right?

Alana Haim: Yeah.

Mark Ronson: Yes. Love you. Miss you. Let's hang soon.

HAIM on fake IDs, rock docs, and their most emotional song to date