Some songs don’t arrive with any particular urgency. They just show up late and stay. That’s the feeling Eshan Agarwal is working with on “That One’s On Me” — a single that takes self-accountability and, somehow, makes it feel like exhaling.

Agarwal grew up in Scarsdale and now lives in Manhattan, and you can hear both in his music if you’re paying attention. There’s a stillness underneath everything he makes, the kind that comes from someone who’s been writing songs since childhood, and then there’s the city pressing in around it. The two don’t really resolve — they just coexist, which is part of what makes his sound feel alive rather than finished.

One thing that shapes how he works: Agarwal has synesthesia, meaning sound registers as color for him. It’s not a gimmick or a bio bullet point — it actually shows up in the music. His productions don’t move in obvious arcs. They shift in tone the way light changes in a room, gradual enough that you feel it before you notice it.

“That One’s On Me” fits into a longer sequence Eshan Agarwal has been building toward his debut album, Strangers Again. Earlier singles like “The Siren” and “Last Hour” sat in distance and detachment — emotionally held back in a way that felt intentional. This one moves closer. It’s about owning a mistake, but he approaches it with a dry humor that keeps the song from caving in on itself. The regret is real; he just refuses to be swallowed by it.

That’s a harder tonal balance to pull off than it sounds. Songs about self-blame tend to either wallow or overcorrect into resolution. This one does neither — it just names the thing and breathes through it. There’s relief in that, and it’s the kind of relief that doesn’t require the listener to have experienced the same situation to feel it.

It tracks with what he’s done across his catalog. His debut EP Lost and the singles that followed — “Never After,” “Half of the Way” — suggest a writer more interested in sitting inside an emotion than wrapping it up cleanly. The songs feel like they’re still happening, even after they end.

He’s sitting at over 65,000 Spotify streams, which is early but real. The audience is growing because the work is consistent, not because any single moment broke through. That kind of slow build tends to mean something.

Strangers Again is still taking shape, and “That One’s On Me” feels like it belongs somewhere near the center of it — not the loudest moment on the record, but one of the truest ones.