Word of mouth is an amazing thing. Back in the day that’s how you found out about your new favourite band. It’s so rare to see a band build a reputation organically these days so it was with great joy that I was introduced to The Joy Hotel by a friend.
The Joy Hotel are a seven-piece outfit formed in the musical furnace that is Glasgow in 2017. The band consists of the combined talents of Emme Woods, Luke Boyce, Jack Boyce, Jack Borrill, Jenny Clifford, Juan Laforet and Scott Flanagan. All are seasoned musicians in their own right bringing together years of songwriting expertise and hard yards on the live circuit.
In 2021 the band decanted to Wales and the world famous Rockfield studios to record what was to become their debut album, Ceremony. On the subject of getting this double album out to the world at last the band had this to say.
“It’s obviously a huge milestone for us and, while being a huge physical and emotional undertaking, has been a total privilege to be able to release a piece of work that is a true reflection of who we are as a group.”
“When we set out to make ‘Ceremony’ we wanted to create something huge in scale, ever-changing and an honest example of how we sound when we stand together in a room and play, flaws-and-all. To be able to stand in a legendary space like Rockfield Studios where scores of world changing albums have been made to track our debut is nothing short of a childhood dream realised.”
So, what does the record sound like? Let’s drop the needle and see for ourselves.
The album opens on the sixties-tinged sepia of ‘I Decline’. The band are well named. The sheer joy in the performance flies out the speakers. From the dynamics of the song slowing and peaking, to Woods effervescent delivery and the absolutely luscious backing vocals. I’m already placing this band up there with The Band. After a short segue we merge into track two.
‘Forever Tender Blue’ immediately feels like a lost cut from Surfs Up era Beach Boys. Luke Boyce’s voice is like a fine wine here, warm and smooth. When coupled with Woods impassioned vocal it becomes something really special. The organ and slide guitar add that sweeping majesty that is the trademark of this album.
We’re two tracks in and I’m using words like majesty. This is proper exciting listening
It’s that organ drone that is our segue into the moody ‘First Joy’. Woods opines ‘When you get bored of your head. You are welcome in my bed. In my head”. Only to recant later saying “Let’s go back and pretend. You are welcome in my bed”. The psychedelic swirling instrumentation on this one is extraordinary and transports you off to another world. What I’m noticing right off is that these songs aren’t afraid to take their time but never outstay their welcome.
We’re straight into ‘Jeremiah’ next. An intro that sounds some kind of love child of ‘Dear Prudence’ and early Arcade Fire suddenly morphs into a 50’s love song for a moment before erupting again. This song clearly demonstrates the bands ambition. This isn’t a band playing small club stages. This song is designed for stadiums. Those closing vocal harmonies, like a lost artifact from Brian Wilsons songbook, absolutely floored me. It’s no wonder this was chosen as the lead single. What a statement of intent.
‘Black Balloon’ opens like a piano led ballad with Woods approaching her vocal with tenderness and a real lightness of touch. Like the preceding numbers it’s not long before they switch things up with a glorious chorus melody this time. At the midpoint Boyce joins in, his vocal trading lines with Woods like a conversation. There’s an eerie ‘A Day in the Life’ style orchestral breakdown before the triumphant return of that chorus melody. Quality control has been incredibly high in the song choices for this album. The song flow is superb as we segue seamlessly in the next track.
Largely an instrumental ‘Rapid Eye Movement’ cracks along at pace showcasing that this band are capable of creating a world, a story and an emotional journey without that lyrical narrative. This song has everything from bass solo’s to eerily effected background vocals. Pointed guitar riffs and swirling organ. But, for me, the drums are the real star of the show here. Dictating the pace and setting the mood throughout. The sudden halt telling us part one of the album is over.
Switching to the second record we are straight into another epic intro to ‘Old Man’s Eyes’. The pounding drums and wailing guitars will make this a festival favourite for sure. This song is one big hook. The songwriting experience of the band really comes in sharp focus here. It’s hard not to be impressed when you hear that glorious verse melody bloom into the chorus.
Before we know it, we continue on into ‘While You’re Young’. A McCartney-esque paean to misspent youth. The vocal interplay on this one is so satisfying with Woods and Boyce trading lines and harmonising beautifully. This song contains this amazing line “If I would take the time I’d tell a story worth the glory of my kind. But temptation leads me where my devils lie”. That gets me every time. Theres even a Harrison style slide guitar solo to add to that Beatles influence. Once again, we transition immediately into the next track. This time brevity is key with ‘No Use’ clocking in at under a minute. A jaunty whistling intro leads us to a short, repeated lyric. “No use in holding on. To a love long gone”. It serves as a bridge to take us to the two parter ahead.
‘Twenty Three (A Comedy) – Part 1’ revisits the theme of wasted youth. The melody, often complex and involved, never feels exclusionary for that. You just sit back and let this one lead you along. The wistful lyrics and jaunty instrumentation keep you hooked throughout. The band have us in the palm of their hands now. ‘Twenty Three (A Comedy) – Part 2’ an instrumental piece that follows again allows the band to stretch themselves veering from playful fairground style waltzes to eighties euro drama themes and cheeky false stops. This is a band having fun and keeping us on our toes with so many dynamic changes in such a short space of time. Just stunning.
That dynamic performance just gets upped a notch on ‘Killing Time’. A beautiful ballad that starts off quite small and contained before slowly blossoming into a punchy and passionate singalong. That drop out for the spoken word section is so effective. You don’t expect it and it makes for quite the cinematic listening experience with the sweeping strings and lush backing vocals. How can they still be pulling songs of this quality out the bag.
The album concludes with ‘Small Mercy’. Opening as a gentle ode to the day after a good night, regretting your choices the night before. Delivered by a wistful Woods I really love that Boyce comes in only once to deliver a key line near the end. Really impactful. What’s even more impactful is the closing instrumental section that I can only describe as cosmic sounds. The wailing feedback mimicking that last moment as the band put down their instruments and take a bow before leaving the stage.
Breathless. That’s how I feel at the end of each listen of Ceremony. Some albums you can stick on in the background and get on about your day. Not so here. Ceremony demands your full attention and rewards that commitment on every listen. I applaud The Joy Hotel for their bloody-minded ambition in bringing us this gem of an album. There has been an incredible amount of love and care poured into every aspect of this release. That much is obvious. The carefully crafted lyrics, the astounding melody choices and the interwoven nature of the album flow all come together to make a listening experience you will want to come back to time and again. If you need some of that in your life, may I recommend a stay at The Joy Hotel.
Ceremony is out now on So Recordings. There’s a stunning double vinyl and some nice bundles you can grab from the bands webstore or get the wax from your favourite record shop.
You can The Joy Hotel on social media here…..
Photo Credits
Elliot Hetherton
Rosie Sco
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