PLAIN FOLK

by Les Pearson
Patrick O’Brien Gets His “Big Break” in Medicine Hat!

Canadian folk artists see “breaks” in American terms. The States have big audiences, recording deals, and media exposure. Patrick O’Brien is ironically exceptional. He is the American who sees Medicine Hat as his first step on a music career path travelled by stay-at-home Canadians like Bruce Cockburn. Medicine Hat means exposure!

Son, Conall, is exuberance personified. As our interview begins, he fades into his bedroom. (Maybe this has something to do with Dad’s stay-at-home parenting.) But when it’s time for pictures, Conall emerges. A showman with air guitar board in hand! Like father, like son.

O’Brien received his first guitar from his father. It was a classical guitar originally purchased for Patrick’s disinterested sister. But in Grade 5, after father first taught himself to play it, son received the patrimony. It followed him to college in Tucson, Arizona. But the relationship of man and instrument was mere dalliance.

Finally, in 1987 Patrick purchased an $80 Yamaha acoustic and began a committed relationship. He knew how to play some chords, but not how to put them together very well. Another self-taught picker, Patrick made this resolution: “I’m going to start with one chord and move to two and move to three and this is the song I’m going to write.”

What he says next echoes something John Wort Hannam recently said. Hannam admits that he is not a “noodler,” one of those gifted musicians who plays by ear. Hum a few bars and a noodler joins in. Bill DesBarres is a noodler. Ezra Azmon noodles. Betty Bischke has learned the art.

Patrick is definite. “I find that I don’t really improve on guitar unless I’m actually writing songs and doing my own stuff. I’m not very good at learning other people’s songs. I never feel like I play them very well. So I’d rather just write my own stuff and that way I know I can play it better than anybody else…at least for the time being!”

The gentle humor—and modesty—are characteristic. In fact, Patrick is a talented song writer. The words matter to him. And he is a student of the songwriting process. He listens intently to interviews with Bob Dylan or any of the folk legends. He trusts what they say.

Ron Sexsmith tells him “…never leave something unfinished—even if it takes 10 years.” Patrick re-writes songs written in an earlier time until they “fit” him now. And all the pros tell him,“Get your butt in front of a microphone and play for people.” And that’s the Medicine Hat break!

“I cannot think of a better place to be right now…. The Folk Music Club has the Songwriters and the Live Music Club has people who have been playing professionally for 50 years.” They offer suggestions but only if he wants them. Patrick says, “Any advice that people have for me is great.” And that, folks, will make Patrick O’Brien great.