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Colin O’Brien’s Thirteen is a strikingly personal exploration of sound and creativity. Rooted in years of experience across multiple instruments and styles, this album turns its focus to the guitar, offering a collection of compositions that feel intimate yet expansive. The result is a project that invites listeners to experience the instrument in a deeply immersive way, showcasing not just technical skill but a genuine connection to its expressive potential.
Crafted with care and intention, Thirteen is both meditative and dynamic, with each track carrying its own story. O’Brien’s approach to composition blends a sense of discovery with refined artistry, creating a body of work that feels spontaneous yet polished. This balance makes the album accessible to first-time listeners while rewarding those who pay closer attention to its nuances.
In this conversation, O’Brien offers a glimpse into his creative process, from selecting the tracks that define Thirteen to the evolving mindset behind his approach to the guitar. For those drawn to instrumental music that challenges and inspires, this interview sheds light on the journey behind an album that is as much about the artist’s growth as it is about the music itself.
Listen in here:
You’ve mentioned in the past that John Hartford’s songwriting was a major influence on your music. How do you think that influence shows up in Thirteen?
The John Hartford influence shows in Thirteen in the compositions. You see I went through a phase (many years) where most of what I listened to and played were fiddle tunes, on the fiddle. John loved tunes. Fiddle tunes are commonly structured with two parts, each containing a musical “question” and an “answer”; this is common in all music, sometimes described as tension and release. Fiddle tunes consolidate and crystalize this compositional component. “Little Oak” and “Jimmy” are a couple that use both the question-answer structure, as well as the 8-bar structure commonly found in fiddle tunes. Lately whilst playing live, I’ve begun twining foot percussion ’neith the guitar tunes on Thirteen, which is a very literal expression of Hartford’s influence.
How do you balance technical skill and emotional expression in your guitar playing, especially on an album like Thirteen, where the music is purely instrumental?
If one is expressing emotional content in their music, their technique is sufficient. Technique is a means, a bridge to the other side where low hangs the fruit.
Is there a particular guitar solo on Thirteen that stands out to you as a turning point or moment of breakthrough in your playing?
The whole record is a turning point! The tunes accumulated over a couple of years, and at the time of their “birth,” each was a turning point in itself. If there is a breakthrough or turning point, it may be the presence of the 12-string guitar, which spent 12 years in the case prior to composing the pieces. One day I took it out…
What challenges did you face when recording an album of purely instrumental tracks, especially when it comes to keeping the listener engaged without lyrics?
The “challenge” was to compose and perform/record music that “got me there.” I stayed with each piece in the studio until it did. Where? To that moment or realization that I’ve communicated through music another piece of reality, the tune functioning as the key to it. The key may or may not fit regardless of whether the piece is instrumental or not.
Was there a specific environment or setting that influenced the recording process for Thirteen? Did the space around you affect the music in any way?
I built my own studio in the western hills of Nashville, TN. It acts as a birthing chamber, of ideas, then compositions, and then recordings. The studio makes all three phases possible. It’s comfortable, it’s quiet!
Your live shows are known for their multi-instrumental nature and energetic performances. How does the solo guitar work on Thirteen translate to a live setting for you?
Thirteen connects with me. That comes first. Then I gave it the Nashville litmus test, sharing it with a select group of friends/musical heroes who live here. It passed. It’s connecting with audiences as well when I play the tunes in shows. Like never before, actually. That means a lot. It connects with me already, but it’s nice to not be alone in that.
Do you have any plans to tour or perform Thirteen live, and if so, how will the solo guitar performances differ from your typical stage setup?
I’m already performing Thirteen live, and my stage setup has not changed.
What’s next for you after the release of Thirteen? Are you already thinking about your next project or exploring new directions in your music?
I’m not sure what’s next after Thirteen. Maybe I’ll dig out the Norelco tape deck I restored (Keith Richards used one) and make a rock record! I’m not thinking actively about that right now…
