Eoin Shannon is an Irish singer-songwriter building Every Drunk’s Gotta Story around a late-night lounge bar setting. He records his vocals at home, then brings in session musicians and a rotating cast of backing vocalists. The influence list is straight bar-room canon: Tom Waits, Frank Sinatra, Mick Flannery, Bing Crosby. The whole album plays like a run of scenes in the same place, with the lights kept low and the stories doing the heavy lifting.
A lot of the record hangs on how the voices stack. “Bartender” is slow and built as a duet. It’s the kind of pace that lets you hear the words land, like a conversation that’s gone on long enough to get honest. “Pull Up a Stool” stays downtempo with a jazzy feel, piano in front, light guitar accents, and vocals carrying the track. The arrangement gives it space to breathe, like the band is leaving room for the singer to say the part that matters. “Let’s Get the Hell Outta Town” keeps it narrow too, piano and vocal at the center, a track that plays like it’s aimed at one person across the bar.
When the band comes in wider, the songs still keep their lounge feel. “Sweetheart Candy Lovin” hits with wide guitars and thick acoustic percussion, with the vocal pushed forward and expressive. “Game Night In Hell” carries a nostalgic, cinematic mood with a Bond-ish edge, a track that could sit under a slick scene without sounding like background blur. “Puppetmaster” shifts into a jazzier, funkier pocket and adds a bit of bounce without breaking the setting.
“Jezebel” is jazzy and hypnotic. “Free My Soul” keeps a nostalgic pull. Track to track, the album sticks to the same room and keeps swapping the story being told.
Sync fit: noir bar scenes, character montage, end credits, and film or TV moments that want lounge-pop storytelling with light jazz colour and occasional full-band lift.
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