Here at the Send Me Your Ears studio today, we’ve been listening to the latest single from Australian artist, Eamonn Conor. Table 17 was released on December 9th, 2022, and for fans of Disco/funk with 80s influences, this track simply has to be on your playlist.
There aren’t many artists out there that we’d be comfortable drawing comparisons to the late great Michael Jackson, but in Conor, there is no doubt of the influence. Table 17 feels like a track that was accidentally left off Michael’s Off The Wall album.
Starting gently with pianos and synths, you could be fooled into thinking it was Jackson when the vocals come in. The voice is breathy, emotive and characterful. It is clear that Conor is heavily influenced by Jackson’s vocals and style of writing – with this particular song sounding similar in many ways to Don’t Stop Til You Get Enough. Conor’s vibrato could easily be mistaken for Jackson.
Table 17 slowly develops, adding more synths and extra vocals until the song really takes off at around one minute in. Synth horns, funky basslines and exciting guitars flood your ears with extra vocals, strings incidentals, and just so much to listen to.
We love the breakdown with piano and vocals that builds back up into another chorus which, if you’re not singing along by now, you’ve not got it turned up loud enough!
Table 17 refers to that random guest list table at a wedding, where people from all walks of life have been thrown together and are expected to mingle. The song is a classic ‘boy meets girl’ romance that works exceptionally well.
It’s very clear that Eamonn Conor is a huge Jackson fan. There’s no denying the quality of the vocals, the similarities in the voices and the writing styles. For Jackson fans, this track is an absolute must-hear. We’re looking forward to hearing how Conor develops his sound and brings his own personal style to the fore more and more as his career progresses.
Ideas from our ears
A boost around 60Hz and a high shelf boost set around 5kHz would increase the depth and punch in the low end and the brightness and presence in the top. A vocal cut around 200-250Hz would reduce the occasional ‘muddy’ tone, and another cut around 900Hz for some slightly ‘honky’ notes’. Finally, there is a tiny resonance on the ‘C’ note in the intro, so a careful surgical cut around 520Hz should control that. As always, these are just some ideas from our ears.
This was our first introduction to the music of Eamonn Conor, but we’re hooked and very excited to hear what happens next for this talented young Australian.