Released on June 20, 2025, as part of their fourth studio album I Quit, HAIM’s All Over Me captures that specific emotional territory between a breakup and moving on—a phase that’s hard to define but instantly recognisable to anyone who’s been there.
Co-produced by Danielle Haim and Rostam, the track blends 2000s soft rock with the chaotic charm of early-’90s sensuality, sounding like a time capsule from a summer that never quite ended.
The song follows HAIM’s earlier releases from the album like Gone, Lucky Stars, and Down to Be Wrong, but trades introspection for raw physicality.
If Gone mourned the ghost of a failed connection, All Over Me lives very much in the now—and isn’t afraid to get a little messy doing it.
Sound and Production: Where Soft Rock Meets Sharp Edges
The track opens with blown-out drums that feel almost aggressive before settling into a more familiar acoustic guitar pattern.
This sonic juxtaposition mirrors the song’s emotional complexity—caught between holding on and letting go.
The production, helmed by Danielle Haim and Rostam Batmanglij, creates a soundscape that feels both nostalgic and refreshingly current.
What’s particularly striking is how the song manages to sound simultaneously like peak Sheryl Crow and something entirely new.
The blistered euphoria in the production gives the track a lived-in quality, as if these emotions have been sitting with the band for a while before finding their way into song form.
Your Place or Mine? Let’s Not Call It Love
“Your place or my place, it doesn’t matter to me / Your lips, my tongue, they’re intertwined”
The song kicks off with this breathless opening line, where logistics and boundaries dissolve in the heat of the moment.
There’s no romantic prelude here—just pure, unfiltered desire.
The phrasing captures the lack of emotional anchoring; it’s physical, maybe even escapist.
“You want us locked in, and I’ll give you my sympathy / But that’s one thing I won’t define”
That last line punches a hole through the illusion. She’s not here for love—at least not the kind that comes with expectations or checklists.
The narrator recognises her partner’s longing for something stable, but brushes it off like a fly at a picnic. Sympathy is offered, but clarity is withheld.
The Pre-Chorus: Unapologetically Transactional
“Take off your clothes / Unlock your door / ‘Cause when I come over / You’re gonna get some”
It’s not romantic, it’s logistical. There’s a tone of tongue-in-cheek bravado here—imagine this being sung with a raised eyebrow and a smirk.
She’s not pretending this is a deep emotional connection. It’s about access. Timing. Opportunity.
“I know it’s not quite what you want / Being on call for me, waiting up for me”
And yet, there’s an admission: the power dynamic is skewed. He’s waiting, maybe hoping for more.
But the narrator makes it clear—this isn’t his story. He’s just a character in hers.
The Chorus: Want Me, But Only When I Say So
“I want you all over me (When I want you)”
This is the thesis statement. The repetition drives home the conditional nature of the desire—fleeting, selfish, honest.
The parenthetical “when I want you” shifts the chorus from a confession to a declaration of control.
It’s less about being wanted and more about dictating the terms of intimacy. She’s not confused. She’s just not committing.
Verse Two: Bedroom Floors and Boundaries
“Your bed or my floor, but don’t tell me that you’re in love / ‘Cause I’m not trying to walk the line”
The phrase “my floor” is a nice detail—it suggests this isn’t always a glamorised, candlelit rendezvous. Sometimes it’s chaotic. Improvised.
And again, there’s that boundary-setting. Don’t romanticise this. Don’t get sentimental.
“Whoever you see, I’m saying it’s fine with me / ’Cause I won’t say what I’m doing tonight”
Jealousy is off the table. But so is honesty. There’s mutual ambiguity here that leans more towards avoidance than openness.
This isn’t a situationship—it’s a situation. Singular. And probably disposable.
The Bridge: Control Slips, But Only a Little
“Walk away from me / Don’t talk that way to me / Just trust me”
Suddenly there’s a crack in the emotional armour. The bridge is less composed, a bit fragmented.
“Trust me” is ironic here—it’s a plea from someone who hasn’t offered any emotional security up to this point.
It’s not a pivot toward romance, but it does hint that beneath all this sexual autonomy lies the possibility of conflicting emotions she’s not ready to process—or share.
The Music Video: Obscure Celeb Chaos Meets Bedroom Drama
Featuring actors like Will Poulter and Nabhaan Rizwan, the video taps into internet-age visual storytelling with deliberately mismatched intimacy.
Each sister gets her own romantic storyline, but what’s notable is how differently they’re portrayed: while Danielle and Este have more intimate scenes with their partners, Alana’s segments show her and her partner “literally jumping around in circles and dancing like kids.”
This contrast speaks to the song’s broader message about relationships existing on a spectrum, where intimacy doesn’t always look the same way twice.
It feels like falling in love at a gas station in 2003 and never fully recovering—there’s that oddly specific, retro ache HAIM taps into so well.
The kind of impulsive, half-lit feeling that’s vivid in the moment and then gone before you can explain why it mattered.
Our Verdict
What makes All Over Me compelling isn’t just its catchy hook or polished production.
It’s the way it captures a very specific emotional state that’s often overlooked in pop music—that liminal space where you want someone physically but need to protect yourself emotionally.
It’s not quite a breakup song, not quite a love song, but something more complex and arguably more honest.
The track’s placement as the second song on the album is strategic. After the album-opening declaration of Gone, All Over Me shows that leaving isn’t always clean or final.
Sometimes you circle back, set new boundaries, and navigate the complicated territory of desire without commitment.
They’re not interested in being the band they were in 2013, or even 2020.
Instead, they’re exploring what it means to be women in their thirties making music about the complexities of adult relationships—with all the messiness, desire, and self-protection that entails.
The song might not be for everyone, but for those who get it, All Over Me offers something rare in contemporary pop: a nuanced take on modern romance that doesn’t apologise for wanting what it wants, even if what it wants is complicated.
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HAIM All over me Lyrics
Verse 1
Your place or my place, it doesn’t matter to me
Your lips, my tongue, they’re intertwined
You want us locked in, and I’ll give you my sympathy
But that’s one thing I won’t define
Pre-Chorus
So take off your clothes (Clothes)
Unlock your door (Door)
‘Cause when I come over
You’re gonna get some
I know it’s not (Not)
Quite what you want (Want)
Being on call for me, waitin’ up for me
But when I want you
Chorus
I want you all over me
I want you all over me
Verse 2
Your bed or my floor, but don’t tell me that you’re in love
‘Cause I’m not trying to walk the line
And whoеver you see, I’m saying it’s fine with me
‘Causе I won’t say what I’m doing tonight
Pre-Chorus
You know I’ve always had a wild heart
And that won’t ever change
So when you see me out with someone else
I will not be ashamed
Chorus
To want you all over me (When I want you)
I want you all over me (When I want you)
I want you all over me (When I want you)
I want you all over me (When I want you)
Bridge
Walk away from me
Don’t talk that way to me
Just trust me, uh
We’ll meet in secrecy
After the party
And when you’re face to face with me
On your knees or underneath
Chorus
I want you all over me (When I want you)
I want you all over me, but when I want you
I want you all over me (When I want you)
I want you all over me (When I want you)
