Hotel Mira at Ferris Wheelers, Dallas (Nov 4, 2025): A Raw, Resilient Night That Turned Loss Into Lift
If you came to Ferris Wheelers expecting a by-the-book Hotel Mira show, you got something rarer: a band rewriting the evening in real time—and making it feel personal. Vancouver’s alt-rock shapeshifters rolled into Dallas on November 4 with frontman Charlie Kerr, bassist Mike Noble, and drummer Cole George carrying the full weight after guitarist/keyboardist Clark Grieve had to miss the set due to a family emergency. (He returned home to be with family due to their dog’s failing health.) The result was a uniquely intimate, trio performance that traded polish for pulse—and it worked.
Hotel Mira
From the jump—“King of the World” into “This Could Be It for Me”—forced the three-piece configuration to fill the void left by Clark’s absence. Without his signature guitar and synth textures (partially fulfilled through some existing backing tracks use to fill for him), Mike Noble’s bass took up extra melodic real estate while George punched air into the arrangements, giving “Runner,” “Vampire,” and “Jungle” a lean, post-punk energy that fit the open-air, backyard vibe of Ferris Wheelers perfectly. The crowd showed up ready to move, and the stripped-down sound gave the songs a raw edge that felt immediate and alive.
Hotel Mira
The middle stretch—“Son-In-Law,” “America’s Favourite Pastime,” “Right Back Where I Was,” “Made for This,” “Cowboy”—leaned into space and dynamics. Charlie’s vocal phrasing—equal parts confessional and confrontational—cut through in a way they rarely do in fuller arrangements. With fewer layers, the melodies felt exposed in the best way, landing like diary entries read out loud.
Charlie Kerr - Hotel Mira
Then came the heart of the night: a Charlie acoustic interlude featuring “Gap Year,” “Ladies and Gentlemen,” and “Circulation.” Stripped down, Kerr turned the patio into a living-room confessional. It was a moment of vulnerability that underscored the band’s emotional core. The crowd leaned in, quiet when needed, loud when invited.
Hotel Mira
The band returned pivoting from reflection to release with “Re: Valentine’s Day,” “Making Progress,” and “Dancing With the Moonlight.” Each arrived with a touch more grit, like they’d been re-forged by the night’s emotion. The encore—“Fever Pitch” and “Southern Comforting”—was fiery and energetic, keeping the audience in motion, which certainly helped warm the night on this cool November evening. “Fever Pitch” thrived on its rhythmic tension, while “Southern Comforting” closed the night with the kind of resonance that reminds you why live music still matters.
Mike Noble - Hotel Mira
Hotel Mira
Charlie Kerr - Hotel Mira