Hotel Mira, the Canadian alt-rock powerhouse led by the ever-charismatic Charlie Kerr, has never shied away from bold narratives and emotional depth. Their latest album, Pity Party, is a rollercoaster ride through self-indulgence, heartbreak, and self-awareness—a perfect encapsulation of the highs and lows of modern existence. Released via Light Organ/604 Records, the album captures Kerr’s storytelling prowess at its peak, supported by Clark Grieve’s searing guitar work, Mike Noble’s pulsing basslines, and Cole George’s dynamic drumming.
As the title suggests, Pity Party thrives on contrast—the wild abandon of a night out (Party) versus the brutal introspection that follows (Pity). Each track swings between these extremes, creating a narrative of reckless joy and inevitable consequences. It’s an album that doesn’t just tell a story—it invites you into the chaos.
Hotel Mira’s sound has always been a blend of sharp alt-rock with theatrical flair, and Pity Party is no exception. The album is packed with hook-laden anthems, melodramatic ballads, and unexpected sonic twists. Fans of Iggy Pop, Lana Del Rey, and even early The Killers will find something to latch onto here. Kerr’s electrifying presence—part rockstar, part method actor—drives the entire album, making each song feel like a scene in an offbeat indie film.
Track Highlights
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“America’s Favourite Pastime” – The perfect album opener. It’s a glitzy, nihilistic party anthem, channeling Lana Del Rey’s poetic self-destruction with an Iggy Pop swagger. It sets the stage for the album’s themes—reckless indulgence with a knowing wink.
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“Right Back Where I Was” – A song about the futility of repeating mistakes, this one captures the feeling of emotional panic when you realize you’re the architect of your own misery. The tension in Kerr’s vocals is palpable, mirroring the cyclical nature of self-sabotage.
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“Made For This” – One of the album’s most brutally honest breakup songs. There’s no villain here—just two people who weren’t meant to last. The lyrics cut deep, and the instrumentation feels like picking through the wreckage of a failed relationship.
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“Cowboy” – Perhaps the most high-concept song on the album. Kerr reimagines Cupid’s arrows as an increasingly destructive arsenal, questioning what happens when love is a one-sided explosion rather than a shared experience. Bonus points for possibly being the first love song to include the word “bazooka.”
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“Melissa” – A track that perfectly captures drunken self-importance turning into regret. We all know a “Melissa”—the one who sees through the facade, the one who won’t entertain the nonsense. It’s sharp, hilarious, and painfully relatable.
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“Making Progress” – The album’s most hopeful track, offering a rare moment of clarity. It’s a reminder that survival itself is an act of defiance, and that moving forward—even imperfectly—is worth celebrating.
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“Runner” – A sharp, gossipy track that feels like overhearing a group of friends dissecting a chaotic love triangle at a house party. It’s playful yet insightful, giving voice to the messy emotional games we all witness (or play) at some point.
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“Back To The Bedroom” – One of the darkest tracks on the album. It takes a hard look at the way people use sex to numb pain and the cycle of self-destruction disguised as intimacy. It’s raw, unsettling, and painfully real.
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“There Goes The Neighbourhood” – The album’s closing track brings everything full circle. The party is over. The self-destruction has played out. What’s left is the cold reality of looking back at your past and realizing you no longer recognize the person you once were. It’s a fitting, sobering end to an album that has spent its runtime dancing on the edge of a breakdown.
What makes Pity Party so compelling isn’t just the killer melodies or infectious hooks—it’s Kerr’s ability to turn every song into a performance. He brings the drama of a playwright, the unpredictability of a method actor, and the raw energy of a punk frontman. Live, he’s been described as part Iggy Pop, part go-go dancer, part fourth-wall-breaking experimental theater. That energy translates to the album, making each track feel like it exists in its own universe.
Kerr’s work as an actor and playwright bleeds into his music. His biggest acting role yet—starring in the upcoming feature film Shiver alongside Greg Kinnear and Alicia Witt—is just another extension of his storytelling. He doesn’t just write songs—he creates characters, moods, and entire worlds.
Pity Party isn’t just an album—it’s an experience. It throws you headfirst into the highs of self-indulgence and the crushing lows of regret, mirroring the cycles we all fall into at some point. The songs are cinematic, the lyrics cut with precision, and the energy is undeniable.
For fans of alt-rock with depth, chaos, and charisma, Pity Party is a must-listen. Hotel Mira has crafted an album that feels like a blurry night out followed by an existential morning-after reflection—and somehow, in that mess, they’ve found something truly beautiful.
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