Introduction
The music video for The Cranberries’ iconic song “Zombie” closes with a poignant image: a young boy lying on the ground, his face bruised, captured in stark black and white. This powerful scene, filmed by director Samuel Bayer in Northern Ireland, is not just a visual accompaniment; it’s a stark representation of the song’s core message. Released in 1994, “Zombie” is a lament, a cry of anguish in response to the tragic 1993 Warrington bombings, which claimed the lives of two children at the hands of the Irish Republican Army. Through this raw and impassioned track, The Cranberries delivered a potent anti-war protest, joining a long and vital tradition of musicians using their art as a form of resistance. As scholar Simon Frith noted, music has historically served as “a site of resistance,” from folk songs to anti-war anthems, offering a voice against injustice and conflict. The Cranberries, an Irish rock band that burst onto the scene with their 1992 single “Dreams” and achieved international acclaim with their debut album “Everybody Else Is Doing It, So Why Can’t We?” in 1993, cemented their status with “Zombie.” This track, featured on their second album “No Need to Argue” (1994), was penned by lead singer Dolores O’Riordan and resonated globally. It topped charts in Ireland, the UK, the US, France, and numerous other countries, earning accolades like the MTV Europe Music Award for Best Song. Remarkably, “Zombie” experienced a resurgence in 2011, re-entering the UK charts, and to date, its music video has amassed over 900 million views on YouTube, demonstrating its enduring relevance and impact.
The enduring appeal of “Zombie” transcends mere musicality. Listeners are drawn not only to its sonic elements – the melody, lyrics, and O’Riordan’s distinctive vocal style – but also to extra-musical factors. These encompass the song’s powerful message, its commentary on social issues, and the historical context in which it was created and continues to be interpreted. These intertwined elements collectively construct the rich and multifaceted Zombie Song Meaning, highlighting the complex layers that influence how audiences understand and connect with music. This article delves into a critical analysis of “Zombie,” exploring both the musical and extra-musical dimensions that contribute to its profound meaning. By examining these factors, we aim to provide a broader understanding of the dynamics within the music market and offer insights into the cultural industry’s broader impact.
Musical Factors in “Zombie”
Rock and Roll Edge
Compared to The Cranberries’ earlier, more ethereal sound, “Zombie” marked a distinct shift towards a more pronounced rock style. Music critic Peter Buckley observed that their second album largely maintained their established sound, with the notable exception of “Zombie,” which he described as possessing an “angry grunge” sound and aggressive lyrics. Dolores O’Riordan herself emphasized the rock identity of the song, urging the band to amplify the drums during performances. Rock music, in its essence, often embodies rebellion, characterized by distorted guitars, forceful drumbeats, and a defiant attitude. It’s a genre that frequently engages with “serious” themes, extending beyond romantic love and encompassing social issues, systemic critiques, and diverse lifestyles. As musicologist Christine defines it, rock is not merely entertainment; it’s “serious music.” This musical form fosters a worldview that intertwines musical expression with personal values, allowing aesthetic and ethical judgments to mutually reinforce each other. “Zombie” exemplifies this, serving not just as a musical creation but as a potent expression of social commentary, channeling the band’s anger and sorrow into a visceral critique of war. This form of musical criticism is inherently contagious, seamlessly integrating into the listener’s consciousness and daily life. Rock music, often seen as a vital outlet for teenage angst, provides a framework for individuals to differentiate themselves and their musical tastes through this seriousness and rebellious stance. In the case of “Zombie,” the rock genre amplifies its impact, lending the song a raw power and ensuring a forceful connection with its audience, solidifying its place as one of the band’s most impactful works.
Authenticity in Music
The “seriousness” inherent in rock music is often intrinsically linked to the concept of authenticity, a cornerstone value in evaluating music, especially within rock culture, which has propelled it from niche to mainstream. Authenticity is regarded as a crucial benchmark in rock, shaping judgments about both the music and the musicians. This standard emphasizes a genuine commitment to the music and its connection to individual struggles within society. This authenticity manifests in various forms: the sincere expression of emotions, the engagement with serious themes, original creative input, a sense of community, and even stylistic choices like clothing. The enduring popularity of “Zombie” is deeply rooted in its perceived authenticity. Firstly, audience reception is significantly influenced by whether musicians are seen as creators of their own material. Listeners tend to associate the artist with the “self,” believing that self-penned songs are genuine expressions of inner feelings. This perception is a key differentiator between art and mere entertainment. The Cranberries independently crafted “Zombie,” with every lyric embodying their sincere thoughts and emotions. In a Classic Rock interview, O’Riordan recounted being on tour in the UK when the Warrington bombings occurred, amidst frequent bomb threats in London. She expressed her urgency to highlight the indiscriminate nature of such violence, stating that “these bombs can explode at any time, which may endanger the safety of anyone,” and that such threats should not be ignored. This raw emotion fueled her lyrics:
“Another head hangs lowly, child is slowly taken”
“And the violence caused such silence”
…
“But you see it’s not me, it’s not my family”
“In your head, in your head, they are fighting”
…
“We must be mistaken”
…
“Zombie, Zombie, Zombie”
These direct and unflinching lyrics carry a powerful critical weight, amplified by O’Riordan’s vocal delivery. As musicologist Deena Weinstein notes, vocal style is also a crucial aspect of musical authenticity. Known for their earlier, sweeter melodies and O’Riordan’s ethereal vocals, The Cranberries deliberately shifted their sonic approach in “Zombie.” They replaced the acoustic guitar with a more forceful electric guitar, intensified the drum rhythms, and transformed O’Riordan’s typically lilting voice into an almost primal howl. This artistic choice, blending vocal technique with technological application, underscores the originality and authenticity of the musicians’ expression.
The Music Video’s Impact
The music video for “Zombie” further enhances the song’s authenticity and meaning. As media theorist Paul Lester observed, we increasingly live in a visually mediated society, where images often shape our understanding more profoundly than texts. The “Zombie” music video powerfully visualizes the song’s message, playing a crucial role in its interpretation. The Cranberries collaborated with Samuel Bayer, renowned for directing Nirvana’s “Smells Like Teen Spirit” video. Bayer employed a performance-narrative structure, interweaving band performance footage with actual documentary footage. Through montage, he juxtaposed the band’s performance with images of historical events, creating a synergistic effect that reinforces the song’s themes. The real-life footage shot in Ireland lends a stark realism to the video, sparking significant discussion. Key visual elements include children, armed soldiers, and urban graffiti, vividly depicting the impact of conflict on innocent lives. This raw imagery carries a weight that transcends actors’ portrayals, imbuing the video with a palpable “authenticity.” This authenticity fosters a strong emotional connection between the performers and the audience. These genuine images evoke a powerful sense of impact and resonance, solidifying audience support for The Cranberries’ stance. The band’s performance within the video is also divided into two key parts. The first showcases a straightforward band performance, effectively conveying their raw anger and denunciation of war through exaggerated, forceful movements. In the second segment, O’Riordan, painted in gold, stands before a cross, surrounded by silver-painted children. This visually rich scene directly echoes the documentary footage; for example, children playing in real-world settings are juxtaposed with children around the cross sitting serenely in prayer. Another potent image pairs a soldier attacking a child with a child in another scene screaming in pain.
By analyzing the musical style, lyrics, and music video of “Zombie,” it becomes clear that the song powerfully communicates an anti-war message. This message has garnered widespread support from like-minded audiences and has positioned the song as a significant voice in political discourse. However, this influence is not without complexities. “Zombie” can function as a unifying anthem around specific social issues, but it also risks sparking controversy when perceived as overly commercialized or inappropriately used. These extra-musical dimensions significantly shape how audiences construct the overall zombie song meaning. The following section will explore these crucial extra-musical factors in greater detail.
Extra-Musical Factors in “Zombie”
Musical Works Involving Social Issues
Philosophers Susanne Langer and Paul Knauth emphasized symbols as fundamental tools for human understanding, aiding in our comprehension of the world and forming the basis of our judgments. Symbols, therefore, become essential pathways for recognizing and interpreting phenomena. Applying this symbolic lens to “Zombie” reveals deeper layers of meaning, particularly within its music video. Color symbolism, the use of color to convey symbolic meanings across cultures, is prominent. The interpretation of color symbols is deeply rooted in socio-cultural contexts, varying significantly across different environments. Therefore, understanding the cultural backdrop of “Zombie” is crucial for deciphering its visual symbolism. The music video is predominantly rendered in black and white, punctuated by limited color lenses, mainly blue and red. The black and white palette underscores the gravity of the video’s message, aligning with the song’s somber theme and expressing the band and director’s mourning for the young victims of violence. Red, conventionally symbolizing blood and violence, effectively conveys the destructive impact of war. Blue, a cool color, evokes a sense of coldness and melancholy, further enhancing the video’s somber tone. Another symbolic scene in the MV depicts a person walking a dog, with the dog scavenging bones by the roadside. Juxtaposed with scenes of armed soldiers, war graffiti, and injured children, this image suggests a grim commentary on war’s ultimate consequence: the dehumanization and consumption of humanity. The stark contrast between black and white, color and monochrome, joy and death, accentuates “Zombie”‘s profound reflection on war and the value of life.
The success of “Zombie” is partly attributable to its resonance with a specific social climate. The lyric “It’s the same old theme since 1916” alludes to the protracted conflict between the UK and Ireland that has spanned much of the 20th century. Events such as the Easter Rising of 1916, the Irish Revolutionary War, The Troubles, and Bloody Sunday have deeply ingrained an awareness of war’s devastating consequences and a yearning for peace within the public consciousness. “Zombie” emerged as a powerful channel for collective emotional expression. The Frankfurt School theorists posited that music serves as a source of strength, a code of resistance, enabling the public to forge individual and collective identities. Dolores O’Riordan clarified that “Zombie” was not directed at any specific terrorist organization but was intended as a song with universal humanitarian appeal, condemning all forms of terrorist attacks and warfare, transcending the specific context of the Irish bombings. This broad message significantly expanded the song’s reach and resonance. A BBC report highlighted that in the 1990s, “Zombie” became an anthem for people in conflict zones like Bosnia and Rwanda, and in recent years, it has resonated with civilians affected by terrorist attacks in Manchester, Paris, and Egypt. As Simon Frith argued, music can foster social solidarity, with some critics even viewing it as a pinnacle of societal cohesion and a model for human unity. Numerous musicians have utilized music to express their stances on social issues. For instance, FKA twigs explored themes of feminism through her visual album M3LL1SSX. However, public reception to such works is not uniformly laudatory. Beyoncé, despite her active promotion of feminism, has faced accusations of commercializing the movement, tailoring her message to public demand to maximize support and personal gain. This suggests that the perceived motivation behind socially conscious musical works is a critical factor in audience evaluation.
The Role of Publicity and Propaganda
Popular music has long functioned as a potent medium for propaganda, extending into political spheres. Scholar Frederick argued that music in Western countries serves a dual propaganda purpose. Nationalism is often amplified during wartime, and music evoking a sense of homeland can strongly reinforce nationalistic sentiments. Governments and social organizations strategically employ music in propaganda and social campaigns, integrating it into their operational frameworks to articulate social movement ideologies and subtly influence public perception. This approach aligns with the cognitive perspective on social movements, which posits that individuals interpret the world through pre-existing cognitive frameworks. Culture, including music, shapes cognitive practices and becomes a resource for social mobilization. “Zombie” itself has been appropriated for political propaganda. Its global resonance and capacity to evoke strong emotions led social entities to utilize it in campaigns advocating for peace and an end to war. For example, The Cranberries were invited to perform “Zombie” at the 1998 Nobel Peace Prize ceremony, which honored Ulster Unionist leader John Hume and SDLP leader David Trimble for their roles in peacefully resolving conflicts in Northern Ireland. The song’s thematic origins and message directly aligned with the Nobel Prize’s peace-oriented focus, illustrating the intersection of music and political issues. However, while music can serve as a form of political messaging and symbolic packaging, its substantive impact on political resolution is often limited. The resolution of the Northern Ireland conflict was primarily a result of governmental and political processes, not solely attributable to the influence of The Cranberries’ music.
Music possesses the power to evoke and articulate officially sanctioned emotions and identities. However, this power is not without potential for counter-effects. Music can also incite public dissent or rebellion, outcomes that governments often seek to avoid. Music censorship arises as a mechanism to manage these potential disruptions. “Zombie,” despite its international chart success, peaked at number 14 in the UK, possibly due to the BBC’s decision to ban the original music video. As previously discussed, the video incorporates authentic footage from Ireland, including scenes of unrest that the UK government preferred to keep from public view. A particularly sensitive image depicted a young boy playing with a gun alongside other children. This imagery faced strong opposition from both the BBC and RTE (Ireland’s national broadcaster). While not entirely banning the song, they re-edited the music video, removing many of the controversial scenes and focusing predominantly on band performance segments. This strategic editing aimed to shift public attention away from the socio-political issues of the war towards the song itself, mitigating potential public dissatisfaction. However, music as a form of expression warrants protection. Fortunately, the original, uncensored version of “Zombie” has been preserved and continues to be widely accessible via platforms like YouTube. In an interview with Rip it Up, Hogan noted that the attempt to censor the original video broadcast was ultimately unsuccessful. Music addressing social issues, especially political ones, often encounters resistance not only from governmental bodies but also from segments of the public. Dolores O’Riordan, the songwriter of “Zombie,” faced accusations of ignorance and bias in the conflict. Similar instances include criticism of U2’s “Sunday Bloody Sunday” for being overly partisan in its depiction of the Bloody Sunday event, and Paul McCartney’s “Give Ireland Back to the Irish,” which was banned by the BBC.
Music Used in Advertisements
The use of music in advertising frequently sparks public debate about the interpretation and meaning of songs. Advertising is often criticized for potentially distorting a song’s original meaning or repurposing it through various techniques. Advertisers typically manipulate music meaning through methods such as excerpting parts of a song, re-instrumentalizing scores, altering lyrics, or blending songs. In 2018, a series of videos on the short-video platform TikTok, featuring scenes of everyday life paired with the Supreme brand logo and the slogan “All Things Can Supreme,” went viral. This marketing campaign gained widespread public engagement. However, when it was revealed that the background music was an excerpt from “Zombie,” it triggered significant public disapproval. The videos used only the repeated “zombie, zombie, zombie” refrain, in a remixed version, making the original song almost unrecognizable in the 15-second clips. Listeners unfamiliar with “Zombie” might not have perceived any issue with this usage based solely on the extracted lyrics. As musicologist Leah Meier observed, “when popular music is used as a form of promotion, what it actually sounds like and says is secondary to what it does.” This perceived misuse of “Zombie” in advertising, while not legally prohibited, raises ethical and cultural concerns.
Performer’s Influence
Public interpretation of music is inextricably linked to “non-musical” information about the performer. A song’s reception is influenced not only by its intrinsic musical qualities but also by the perceived persona and life events of the artist. “Zombie” experienced renewed global attention following the untimely death of Dolores O’Riordan, The Cranberries’ lead singer. Irish President Michael D. Higgins led tributes, followed by widespread commemorations from the music industry. O’Riordan’s profound impact on rock and pop music in Ireland and internationally was widely recognized, and she was celebrated as an icon of Irish music. “Zombie” was often cited as her most important, impactful, and meaningful work. The song’s background and her creative journey were revisited, and past interviews revealed her motivations for writing the song, her own interpretations, and her responses to criticisms. This renewed focus on O’Riordan deepened public understanding of both her and the profound zombie song meaning she crafted.
In summary, the construction of zombie song meaning, and indeed the meaning of any musical work, is shaped by a multitude of extra-musical factors. Some of these factors align with the artist’s original intent: “Zombie”‘s lyrics and music video have served as effective anti-war tools, making it a rallying cry in specific social contexts. However, when a song acquires such a specific and potent meaning, its use in trivial or commercial contexts can provoke public resistance. Furthermore, biographical information and public perceptions of the performer significantly influence audience interpretation of the musical work.
Conclusion
Through a comprehensive analysis of The Cranberries’ “Zombie,” it is evident that the meaning of music is constructed through a complex interplay of musical and extra-musical factors. Firstly, musical style lays the groundwork. “Zombie,” as a quintessential rock song, embodies the genre’s seriousness and rebellious spirit. Rock music transcends mere entertainment, often engaging with serious social themes, offering a platform for resistance and expressing societal dissatisfaction. Authenticity is central to rock, evidenced in the originality of the songwriting, the sincerity of the performance, and the artist’s motivations. “Zombie,” as a seminal anti-war anthem, gains significant meaning from its historical and social context, which profoundly influences audience interpretation. However, any impactful work, especially one addressing sensitive social issues, is likely to encounter controversy and critique. Governmental bodies may censor music perceived as a threat to social order, while the public may question the political stances of musicians. The inherent sensitivity of a song like “Zombie” also means that its inappropriate commercial use can provoke public backlash, highlighting the necessity for cultural and ethical considerations in its application. Ultimately, the life narrative and public persona of the musician also play a crucial role in shaping the audience’s understanding of a song’s meaning.
References
[1] Baumann, S. (2001). Intellectualization and Art World Development: Film in the United States. American Sociological Review, 66, 404-426. https://doi.org/10.2307/3088886
[2] Brackett, D. (1995). The Electro-Acoustic Mirror: Voices in American Pop. Critical Quarterly, 37, 11-27. https://doi.org/10.1111/j.1467-8705.1995.tb01049.x
[3] Buckley, P. (2003). The Rough Guide to Rock: The Definitive Guide to More than 1200 Artists and Bands. Rough Guides.
[4] Christgau, R. (1981). Christgau’s Record Guide: Rock Albums of the Seventies. Ticknor & Fields.
[5] Christine, A. (2004). The Facts on File Dictionary of Music (4th ed.). Infobase.
[6] Classic Rock (2017). The Year Rock Struck back.
[7] de Demelza, B., & Edel, H. (2018, January 15). Taoiseach Leo Varadkar and the Cranberries Pay Tribute to the Late Dolores O’Riordan. Irish Mirror.https://www.irishmirror.ie/showbiz/irish-showbiz/taoiseach-leo-varadkar-cranberries-pay-11857776
[8] Emma, J. (2017). The Story behind the Song: The Cranberries-Zombie.
[9] Fairclough, K. (2017). Soundtrack Self: FKA twigs, Music Video, and Celebrity Feminism. In G. Arnold, D. Cookney, K. Fairclough, & M. Goddard (Eds.), Music/Video: Histories, Aesthetics, Media. Bloomsbury Academic
[10] Frederick, S. (1983). Red and Hot: The Fate of Jazz in the Soviet Union. Oxford University Press.
[11] Hesmondhalgh, D. (2013). Why Music Matters. Wiley-Blackwell.
[12] Jill, M. (1997). A Guide to Color Symbolism.
[13] Keightley, K. (2001). Reconsidering Rock. In S. Frith, W. Straw, & J. Street (Eds.), The Cambridge Companion to Pop and Rock (pp. 109-142). Cambridge University Press. https://doi.org/10.1017/CCOL9780521553698.008
[14] Klein, B. (2009). Taming Rebellion: Advertising’s Control over Meaning. In As Heard on TV: Popular Music in Advertising. Routledge.
[15] Langer, S. K. (1953). Feeling and Form: A Theory of Art, Developed From: Philosophy in a New Key. Scribners.
[16] Meier, L. M. (2017). Brands: the New Gatekeepers. In Popular Music as Promotion: Music and Branding in the Digital Age. Polity.
[17] Palczewski, C., Ice, R., & Fritch, J. (2012). Rhetoric in Civic Life. Strata Publishing.
[18] Paul, M. L. (2003). Visual Communication: Images with Messages (3rd ed.). Wadsworth Press.
[19] Ron, E., & Andrew, J. (1998). Music and Social Movements: Mobilizing Traditions in the Twentieth Century. Cambridge University Press.
[20] Ronan, M. (2018). Dolores O’Riordan, Cranberries Lead Singer, Dies at Age of 46. Irish Times.https://www.irishtimes.com/culture/music/dolores-o-riordan-cranberries-lead-singer-dies-at-age-of-46-1.3356279
[21] Savage, M. (2018). The Tragedy That Inspired Zombie—The Cranberries’ Biggest Hit. BBC News.
[22] Smith, N. S., Whitfield, T. W. A., & Wiltshire, T. J. (1990). The Accuracy of the NCS, DIN, and OSA-UCS Colour Atlases. Color Research & Application, 15, 111-116. https://doi.org/10.1002/col.5080150209
[23] Street, J. (2013). Music and Politics. Polity.
[24] The Cranberries TV (2009, June 17). Video: The Cranberries-Zombie (Official Music Video). https://www.youtube.com/watch?v=6Ejga4kJUts
[25] Timothy, W. (2003). Pop Music: Technology and Creativity: Trevor Horn and the Digital Revolution. Routledge.
[26] Weinstein, D. (2009). Heavy Metal: The Music and Its Subculture. Da Capo Pres.
[27] Wikipedia (2019a). Color Symbolism. https://en.wikipedia.org/wiki/Color_symbolism
[28] Wikipedia (2019b). Zombie (Song). https://en.wikipedia.org/wiki/Zombie_(song)
