There’s a quote that’s stuck around for far too long. Morrissey once referred to Mike Joyce, drummer of The Smiths, as a “northern leech.”
It’s the kind of insult that stings—not just because of how sharp it is, but because it does a disservice to one of the key players in the sound that helped define an era.

Let’s get one thing straight: Mike Joyce is not a leech. He’s a musician’s musician. His tight, expressive, and often understated drumming was the perfect counterweight to Johnny Marr’s melodic guitars and Morrissey’s dramatic vocals. Listen to “The Headmaster Ritual” or “There Is a Light That Never Goes Out” and try to imagine those songs without Joyce’s heartbeat. You can’t.

Sure, there was a legal battle. Yes, things got messy—like they often do when art and business collide. But Joyce stood up for what he felt he was owed. That doesn’t make him greedy. That makes him someone who values his work. And if The Smiths’ music meant anything, it was about standing up for yourself, even when it’s not easy.

After The Smiths, Joyce didn’t disappear. He drummed with Sinead O’Connor, Public Image Ltd., and even Suede. He’s never been flashy, but he’s always been solid. That’s the kind of artist I admire: someone who quietly keeps showing up and doing the work.

So, to call him a “northern leech”? That’s just lazy name-calling. A cheap shot.
Mike Joyce deserves respect—not because he was part of The Smiths, but because of how essential he was to The Smiths—and how he carried himself after the lights went down.
One cool tidbit I came across while researching this: when The Smiths were writing music, drummer Mike Joyce would craft his drum parts not to Andy Rourke’s basslines—but to Johnny Marr’s guitar work. That’s unusual, and it had a fascinating effect. It gave Rourke the freedom to play over the rhythm section rather than being locked into it. The result? Those fluid, melodic basslines that dance across so many Smiths songs. It’s a subtle behind-the-scenes choice that helped define their sound.
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