This was a hotly anticipated occasion: it sold out instantly, and even long before doors, the queue of excited young fans stretched half way down Whitworth Street. Haim is undeniably of the moment, and everyone knew this was probably the last chance to experience them in a venue of this size. A year earlier when I saw them supporting Florence + Machine, it was different: the crowd in Liverpool paid little attention. Yet, part of the exhilaration of contemporary music is the speed of development: back then, they'd yet to win the BBC Sound of 2013 poll whereas now the discussion has moved onto the 2014 long list (which in a sign of the times is devoid of bands). By Reading Festival in August, their first album was still to be released, but their profile had exploded, and I found their set the most exciting of the festival. Last night though was a more intimate chance to place their talent into context.
Haim's music comes from the San Fernando valley where the three sisters grew up, and reflects Californian optimism, even if its relationship with place isn't deep rooted. It's frequently compared to Fleetwood Mac, and as if to reinforce this, Haim performed the cover Oh Well early in the set. Yet, it's a product of the iTunes generation, the wide array of influences reflecting the instant availability of the entire recorded tradition. The inexplicably universally acclaimed Kanye West Yeezus was the house music during the protracted wait for Haim, and Danielle's clipped R&B vocal runs and numbers such as My Song 5 are the product of a multicultural fusion. Este has a degree in ethno-musicology from UCLA, and the other sisters' backgrounds in the music industry are well documented. An electronics player joined drummer Dash Hutton at the back of the stage, whilst Danielle's deep echoing vocals emanated from the centre.
To me, the performance, not the music is the outstanding feature of Haim and explains their success. The opening numbers Falling and The Wire were an explosion of energy, and from the moment they came on stage the audience was galvanised into a euphoric reaction. It's no coincidence that Haim means life in Hebrew, and even Go Slow had far greater intensity live than on record. Their stagecraft owes much to rock, and the blues jams were incredibly invigorating. But this is also power pop music, inspiring dancing which implies that life is all about happy escapism. It's such a joy to watch the synchronicity of a band who've grown up together, and there's nothing loose or immature about their tight musicianship. Their skill in moving to the edge of the stage, using their instruments as props, visibly displaying total commitment suggests decades of experience. Joy was just as evident in Alana's expression as the famous intensity of Este's bass face, and they were a delight to watch. Indeed, they're regarded as style leaders and, judging by their reception, are now part of the cult of celebrity.
The support act, Saint Raymond, sounded like an attempt to reduce Two Door Cinema Club to its pop fundamentals, with a directness bearing little resemblance to the complexity of the real world. Their front man Callum Burrows is only 18, and they connected with the excitable fans in the centre of the crowd, if not as convincingly with me. Haim is also a celebration of youth, with all its glamour, confidence and playfulness. The prank involving the obscure Welsh band Los Campesinos, playing to a far smaller crowd across the road, has become a minor footnote in Haim's history. I'm sure its intentions were fun, but the abuse which followed from Haim fans on Twitter sits uncomfortably with me. It was a mirror to this age of social media with its superficial connections and instant publicity; tomorrow attention will be elsewhere. To be fair, Haim expressed gratitude to Manchester for its enthusiasm, and as the first place played outside American, the UK is clearly important to them. Their target demographic seemed to love the band's flirtatious use of innuendo: Haim seem to be having fun fulfilling the hipster role expected of three glamorous sisters.
Ultimately, I found it difficult to set aside my remarkable Arcade Fire experience in Blackpool last month, whose musical scale of ambition is in a different universe. Reflektor has layers of hidden meaning, which are gradually revealed; yet by the middle of this hour long ten song Haim set, the musical inspiration was sagging, and even this excitable audience seem to lose some interest. Haim has far too great a talent to disappear into obscurity, but I hope they take the time out of their relentless touring schedule to focus on greater consistency in their song writing. The comparison with Arcade Fire may be unfair given the respective stages in their careers, but both have recently been at the top of the UK album charts. Haim makes most sense in a festival context, when their burst of energy is inspiring, but yesterday evening, I desired a deeper intellectual journey as well as that visceral thrill.
Setlist
- Falling
- The Wire
- Oh Well (Fleetwood Mac cover)
- Honey & I
- Go Slow
- My Song 5
- Don't Save Me
- Forever
- Running if you Call My Name
- Let Me Go
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