There’s something undeniably captivating about Hotel Mira’s latest album, Pity Party. From the very first note, it becomes clear this isn’t just another album—it’s an emotional battleground between two forces we all know too well: the reckless joy of a night out and the inevitable come-down that follows. It’s an album about the extremes of living, and, more importantly, about surviving the aftermath.
The Canadian quartet, fronted by the magnetic Charlie Kerr, has crafted a work that pulls listeners into a whirlwind of fun, introspection, regret, and redemption. As Kerr himself puts it, Pity Party, is a sonic journey through “extreme joy, excitement and excess (party)” and “the impending depression, hangover and paranoia (pity).” And it’s in this tug-of-war between indulgence and self-reflection that the album finds its heart.
The opening track, “America’s Favourite Pastime,” hits like a lightning bolt: an anthem for the self-destructive party-goer with a Lana Del Rey-inspired sadness mixed with the wild energy of Iggy Pop. It sets the tone for what’s to come, a rollicking dive into the highs and lows of life. From the infectious energy of “Right Back Where I Was” (a song about repeating mistakes and spiraling) to the subtle heartbreak of “Made For This,” the band pulls no punches, delivering both electrifying highs and crushing emotional lows with striking precision.
And while the album starts in full-throttle mode, the pace slows at times, offering up raw, vulnerable moments. In songs like “Back to the Bedroom” and “There Goes the Neighbourhood,” Kerr’s songwriting turns inwards, capturing the pain and realization of trying to numb one’s self with fleeting pleasures. These are the quiet moments when, Pity Party, sheds its party persona and becomes something deeper, more contemplative. The duality at play here is so finely crafted that it feels like a true reflection of the human experience—the thrill of living and the loneliness that sometimes follows.
The chemistry between Kerr and his bandmates—guitarist Clark Grieve, bassist Mike Noble, and drummer Cole George—gives the album its dynamic force. The guitar work is luscious and jagged, matching the frenetic energy of the lyrics, while the rhythm section locks into a groove that’s impossible to escape. The production is rich, layered, and polished without losing its edge, making each song feel like an immersive experience.
By the time you reach “There Goes the Neighbourhood,” the album’s final track, you realize that, Pity Party, isn’t just a celebration of life’s chaos; it’s a meditation on what happens when the noise dies down and the hangover sets in. It’s an album that invites you to get lost in the storm, only to leave you wondering how you’ll find your way out the next day. Hotel Mira has not only captured the messiness of life but has crafted a sound that makes us want to stay in it a little longer.