Este Haim is on cloud nine. It could be the euphoric aftermath of Haim’s world tour, which wrapped a month ago after selling out the O2 Arena in London, OVO Hydro in Glasgow, New York’s Madison Square Garden, and historic venues all over the globe. It might be her upcoming wedding, for which, fortunately, her fiancé is handling most of the planning while she works on the score of her latest film project. It could be the success of Haim’s latest album I Quit, which shows a heavier, more experimental side of the band—in large part due to precision bass work by Este that exceeds her previous output in creativity, chops, and tonal exploration. It might be the subsequent nomination for Rock Album of the Year at the upcoming Grammy Awards, which marks the three sisters as the first all-female band to be up for that honor. It’s likely a culmination of all of those things, but the point is, Este is happy. 

Speaking from her Los Angeles home, she talks enthusiastically about her 1973 Fender Precision Bass, which is her constant companion both on the road and on all of Haim’s recorded material. “Blondie,” as its called, is becoming quite a fixture and relic in the bass world. Despite being besties with Taylor Swift, it appears she might hold her relationship with her beloved P-Bass in slightly higher regard. A constant woodshedder, her bass is always close by and is used regularly to solo over her favorite soul and rock albums, improve her pick playing, and dabble in jazz harmony. She namechecks her good friend Thundercat on a few occasions, mainly in awe of his talent and in how he inspires her writing on the bass.

Este’s own writing is impressive in itself. Through four albums alongside her sisters Alana and Danielle, she has demonstrated her flare for composing catchy hooks on bass, with a sense of rhythm that keeps her audiences moving as they shift through the many genres the band encompasses. With her upbringing in jazz, folk, and soul, and a lifelong love of rock, metal, progressive, and even nu metal, her playing is the perfect balance of groove-based feel and rock drive that has defined the music of Haim since their inception in 2007. She’ll gladly talk about her teenage years listening to Korn and Tool, and the accompanying wardrobe to that music, but right now she’s focused on what’s ahead. Between her upcoming nuptials, her film scores, and her hopes for the Grammy Award, she has a lot to be happy about. 

First of all, congrats on the Grammy nomination for Best Rock Album for I Quit. How does it feel being the first all-female band to be nominated in that category?

It’s incredible. I’m just enjoying having a seat at the table. The category of best rock album is such an honor. My sisters and I started out playing rock music. We’ve always played jazz, but our first love was rock. It was a beautiful thing to wake up to on that morning. Especially being able to share the honor of being nominated with my family. It’s truly a magical moment for me. Especially being the first all-female band to ever be nominated in this category. It’s pretty nuts.

All artists are different, but how do accolades like platinum albums and awards make you feel? What goes on internally when you reach those milestones?

I mean, internally, I have stomach problems as-is. I’m an IBS girlie, so it’s just chaos [laughs]. When we got the nomination there was stuff happening on my insides for sure, but I won’t go into detail. I still have to get that checked out. But really, it’s not lost on me how much of an honor this is. I’m still taking it all in and feeling so humbled and chuffed that my peers are recognizing us. But the thing that means even more to me is playing live and selling out arenas in front of our fans. That’s the most fun. This Grammy nom is spectacular and means so much.

I Quit is a departure in style that also mines new territory for the band. In the half year since its release, what is your perspective on it, having toured it?

I love playing the record live. We got to play harder than we’ve ever played before because this material is harder. It’s a little heavier. We were inspired by a lot of the music that we were listening to in the early-2000s. I loved Rilo Kiley, but we were also listening to Modest Mouse and A Perfect Circle, because I love Paz (Lenchantin) and her bass playing. I listened to a lot of harder stuff back then because I was going through a harder time. My musical upbringing truly ran the gamut. We listened to everything from the oldie stations to classic rock and also KROC, and I was obsessed with nu metal back then. In high school I loved Korn and Limp Bizkit and I was also listening to a ton of Tool. That kind of popped its head up around 2022-2023, when we were creating new material and thinking about what this next record was going to be. That just happened to be stuff we revisited and you can hear that on the record.

Your bass work on I Quit is pretty explorative, from the rhythmic and melodic wanderings of “All Over Me” to the grooving lines of “Relationships” to the soulful feel of “Try to Feel My Pain.” What was your approach to writing your lines?

It was a lot of experimentation and a lot of trial and error. I can’t relate to bass players who have fully composed ideas that they just bring to the table. I feel like Stephen Bruner [Thundercat] does that and it’s just a marvel to witness. I’m not like that, and my sister Danielle, as a producer, likes to do a lot of takes. She always wants to do things again and make them better, which I appreciate. We want everything to sound as good as possible. It’s a lot of experimentation and doing things over and over and picking out the best bits. Then we create one take of all the different pieces put together. The only time something came together right away for me was the bass line on the breakdown of “Relationships,” which came out the first time. That was a miracle. I don’t know where that came from, but I’m happy it came from somewhere.

“Spinning” sounds like a fun bass line to play. How did you come up with that?

That is seriously the most fun song to play live. I change it a little bit live, but on record it’s a dancy, pop, disco song. It’s the dream for any bass player. When it comes up in the set I’m always excited to play it. That came about from us playing and writing together in the room. It kind of clicked and I just kept playing it over and over.

Did you use your trusty ’73 P-Bass on all of this?

I did. My little Blondie was there for all of it, of course. She’s my trusty steed. I play her on the road too. I’ve had a couple of bass players ask me if I’m sure I want to bring her on tours. But I can’t see myself playing live without it. It’s not going anywhere. I’m going to have that thing until I’m six feet under. I’m going to be buried with it.

You also get different tones on this album from silky smooth, to gain-driven and big. How did you dial in your bass?

A lot of it had to do with Danielle and Rostam [Batmanglij’s] production. Often it was a discussion about finding those tones and figuring out what was going to fit best within the song. To your point, there are a lot of different genres that we allude to on this record, and for us it depends on the song and the vibe, and what sits best in the mix to represent the low end. There are some fun tones on “Gone.” It’s no secret we were very inspired by U2 on that and on “Now It’s Time.” I was inspired by Adam Clayton’s bass tone for those. With tone, you really just have to do what’s best for the song.

Which bass players have a tone that you instantly love the second you hear it?

Definitely Thundercat. Joe Dart is pretty amazing and his sound is great. I love Pino’s tone. I’m always going to be a Flea fan and I’m always going to be a Paz fan. They have my favorite sound between the two of them. Especially Paz, her buttery ass playing is just so fucking hot.

Have you listened to Paz’s new solo album?

I haven’t! But I’m going to today. I’m still listening to everything she did with The Entrance Band. Entrance is so sick. Everything she did with A Perfect Circle is my favorite. When I get off the phone with you I’m going to put Paz’s album on. And speaking of Flea, and I don’t want to brag, but I will. He just messaged me today to send me his new single [“A Plea”]. I’m actually going to write back to him right now while we’re on the phone together… There, sent.

I’m deeply honored to be a part of that bass correspondence. What have you been working on lately in your own practice?

I’m not a pick player, I grew up playing jazz, so I never learned how to play with a pick. Now I’m learning. I want to get really good at playing with a pick because on a song like “Take Me Back,” live, playing those 16^th-notes at that tempo is not easy. If I was better at playing with a pick, I would use it live. So I’m practicing for when it shows up on the set list. That technique is really something I want to add to my toolbox, because I’ve always been a finger player. I think I told you that I was working on my picking the last time we talked, but I assure you it’s something I’m actually working on!

Speaking of setlists, which I Quit songs have been your favorite to play live?

Definitely “Spinning.” “Gone” is a lot of fun to play. “Relationships” is cool because I love the breakdown bass line. I see people dance to it in the audience and they’re moving with what I’m doing on bass. The dancier songs are always fun to play on tour, but the rock songs are also great because the crowd gets into it. “Take Me Back” is also fun even though it’s fucking hard. I love writing all the fast or complex parts in the studio and then I have to pull them off live and I’m like, damnit Este!

With regard to writing, what do you foresee the next album sounding like?

Who knows, maybe some pick work? We’re going to keep doing what we’ve always done and push ourselves. We’re always inspired by the people who have come before us. We’ve always been a rock band and we’re going to continue making rock music. I don’t know what that’s going to look like because the beauty of rock music is that it’s so vast and there are so many facets to it, plus what it sounds like and means in 2025. I want to keep pushing myself. I only want to add to this industry and move the boundaries forward as much as I possibly can. Honestly, that comes from seeing live music. That’s the most inspiring thing to me. Watching people play live is what gets me going in the creative sense.

What’s your best advice to you a young bass player who has ambition to do what you do?

Ambition is different from becoming your best. You ambition should be to become the best. The recognition is great, don’t get me wrong. I love the recognition, but you should be working harder to constantly become the best musician and songwriter you can be. The thing that made me advance the most in my playing was putting on old folk records and improvising over them to learn the changes. It helps you recognize the scales and it makes you a better writer. It taught me melody, too. As I get older I realize more and more how important it is to have a singable bass melody. Gospel records and jazz records are great to do that with, as well. It sharpens your ear and all of your tools. Go to your local jazz bar and listen. For me was The Baked Potato, and I would see all these amazing bass players that were just chilling in the Valley. I was very fortunate to have that at my disposal. If you’re old enough to drive, then get in a car and go to a sick jazz or blues club and see the players play. That’s my best advice: practice and see as much live music as you can. Study what the bass players are doing. Are they following the kick? Are they creating their own melodies? Where are they sitting within the song? You kind of have to be a detective. It helps with ear training too. Just keep watching shows like it’s going out of style and then go home and play. That’s it.

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