The world of music mourned the loss of a truly unique voice this week with the passing of Sinead O’Connor, the Irish singer-songwriter whose artistry defied categorization and captivated audiences for decades. At 56 years old, O’Connor left behind a legacy defined by both her breathtaking vocal range and her fearless artistic spirit. She was an artist who never compromised, unafraid to challenge norms and conventions, even as she delivered some of the most heart-wrenching and powerful songs of her generation. While she resisted the pull of mainstream pop, her sheer talent and authenticity propelled her into the spotlight, making her a global icon on her own terms.
In the United States, Sinead O’Connor remains indelibly linked to her emotionally devastating rendition of “Nothing Compares 2 U,” a Prince-penned ballad that topped the Billboard Hot 100 charts. The accompanying music video, a visually striking and intimate portrayal of O’Connor’s raw emotion, became an MTV sensation, earning her the distinction of being the first woman to win the MTV Video Music Award for Video of the Year in 1990. Despite the monumental success of “Nothing Compares 2 U,” O’Connor’s subsequent career path was marked by deliberate choices that often veered away from commercial expectations and embraced moments of bold protest. Her infamous act of tearing up a picture of Pope John Paul II on Saturday Night Live in 1992, while controversial, underscored her unwavering commitment to her beliefs and artistic integrity. This act, along with other uncompromising decisions, contributed to a relatively brief period of mainstream pop success, but it solidified her status as an artist who prioritized substance over fleeting fame.
Sinead O’Connor’s discography stands as a testament to her brilliance and versatility. From alternative airplay hits like “Jump in the River” and “Success Has Made a Failure of Our Home” to the deeply moving album cuts from her seminal early albums, The Lion and the Cobra (1987) and I Do Not Want What I Haven’t Got (1990), and her compelling collaborations with artists like The Edge and Massive Attack, her work is rich with artistic depth. O’Connor consistently pushed her musical boundaries, challenging herself and her listeners throughout her career.
Below, we delve into 10 essential Sinead O’Connor songs, presented chronologically, that showcase the breadth and depth of her artistry. These tracks highlight her protest anthems, her sensual explorations, her enigmatic expressions, and, of course, the iconic “Nothing Compares 2 U,” offering a glimpse into the soul of an unforgettable artist.
“Heroine” (The Edge feat. Sinead O’Connor, Captive Soundtrack)
In a departure from his work with U2, guitarist The Edge ventured into film scoring for the 1986 movie Captive. For the soundtrack’s standout vocal track, he collaborated with a then 19-year-old Sinead O’Connor, who not only lent her voice but also co-wrote the song. “Heroine” is a powerfully evocative piece, fittingly cinematic in its scope. It unfolds as an ode to a comforting, almost maternal embrace, though the song’s title and recurring chant subtly hint at deeper, perhaps darker interpretations. O’Connor’s plaintive vocals resonate with vulnerability as she sings, “With my heart feel my shame/ Lead me into rest again,” while The Edge’s signature echoing guitar work fills the sonic landscape, amplifying the song’s emotional intensity. This early collaboration reveals O’Connor’s nascent talent and her ability to imbue a song with profound emotional weight, even at the beginning of her career.
“Mandinka” (The Lion and the Cobra)
Two years before her breakthrough into mainstream recognition, Sinead O’Connor unleashed “Mandinka,” a fiery and guitar-driven track that served as the second single from her striking 1987 debut album, The Lion and the Cobra. While the lyrics, referencing the Mandinka tribe central to Alex Haley’s Roots, require some research to fully grasp, the sheer force of O’Connor’s vocal performance transcends any need for literal understanding. Her delivery is a potent blend of beauty, raw rage, and spiritual transcendence. When she passionately wails, “I don’t know no shame/ I feel no pain/ I can’t see the flame” in the song’s chorus, her conviction is undeniable, compelling listeners to believe in the depths of her emotion. “Mandinka” showcases O’Connor’s early ability to fuse complex lyrical themes with an explosive vocal delivery, establishing her as a force to be reckoned with in the music scene.
“I Want Your (Hands on Me)” (The Lion and the Cobra)
The term “funky” might not be the first descriptor that comes to mind when considering Sinead O’Connor, an artist known for her impassioned and often politically charged music. However, it aptly captures the seductive energy of “I Want Your (Hands on Me),” the third single from The Lion and the Cobra. Built upon a sinuous drum shuffle, generous cowbell accents, and a guitar chop reminiscent of Nile Rodgers’ signature style, the song leaves no room for ambiguity in its intent. O’Connor’s assertive chorus, “Put ’em on, put ’em on, put ’em on me!,” is a direct and unapologetic expression of desire. Despite a remix featuring a guest verse from MC Lyte for the 1988 single release and a music video visually echoing the iconic “Buffalo Stance,” the song didn’t achieve significant chart success. Nevertheless, its infectious groove and bold sensuality were undeniable, even earning it a spot in a club scene in Miami Vice that same year. “I Want Your (Hands on Me)” reveals a different facet of O’Connor’s artistry, showcasing her capacity for playful seduction alongside her more overtly intense and political work.
“Drink Before the War” (The Lion and The Cobra)
“Drink Before the War,” the penultimate track on her 1987 debut The Lion and the Cobra, resonates as a poignant dispatch from the Troubles in Northern Ireland. O’Connor’s lyrics subtly critique those who “refuse to see” and “refuse to feel,” addressing the conflict with a poetic yet direct approach. The song’s instrumentation is moodily evocative, shifting between somber organ chords and sharp, stabbing strings that underscore her haunting, blues-infused wail. Her vocal performance is both harrowing and beautiful, conveying a deep sense of sorrow and frustration. Decades after its release, “Drink Before the War” found renewed relevance in 2022, when it was featured in episodes of both HBO’s Euphoria and Showtime’s Super Pumped: The Battle for Uber, introducing its powerful message to a new generation of listeners.
“Jump in the River” (I Do Not Want What I Haven’t Got)
Listening to singles like “Jump in the River,” it becomes clear how an artist as uncompromising and seemingly uncommercial as Sinead O’Connor managed to break through to a mainstream audience, particularly in an America increasingly receptive to alternative rock in the late 1980s. Her voice in this track is charged with a raw, imaginative desire, soaring over a relentless, chugging guitar riff that builds tension and release in equal measure. The song’s energy is palpable, driven by a primal urgency. The distinctive gunshot sound at the song’s opening is a nod to its original context: “Jump in the River” was initially featured on the soundtrack of Jonathan Demme’s 1988 film Married to the Mob, adding a cinematic edge to its already dramatic sound. This track exemplifies O’Connor’s ability to blend raw emotion with compelling musical arrangements, creating songs that were both challenging and undeniably catchy.
“Nothing Compares 2 U” (I Do Not Want What I Haven’t Got)
When “Nothing Compares 2 U” dominated the Billboard Hot 100 for four weeks in 1990, Sinead O’Connor’s rendition of the song felt so deeply personal and brutally honest that it was almost unbelievable it originated from another songwriter’s pen – Prince, who initially wrote it for his Paisley Park protégés, The Family, in 1985. O’Connor transformed the song into something entirely her own. Set against a near-funereal string arrangement and a simple, understated backbeat, O’Connor embodies the quintessential image of a heartbroken, grieving lover. She becomes a spectral figure, a modern-day Cathy pining at the window for a Heathcliff who has moved on. Her vocal performance is a masterclass in emotional dynamics, shifting seamlessly from a hushed, intimate croon to a strained, vulnerable falsetto and finally to a soulful, unrestrained keening. In less than five minutes, she conveys the depth of heartbreak found in a sprawling romantic novel. Few singers ever achieve such profound emotional authenticity on record, and O’Connor’s ability to do so with a cover song is a testament to her innate capacity to connect with the world’s emotions, regardless of the personal cost.
“Three Babies” (I Do Not Want What I Haven’t Got)
Released as the third single from I Do Not Want What I Haven’t Got, “Three Babies” may not have replicated the chart-topping success of “Nothing Compares 2 U,” but it arguably equals, if not surpasses, its emotional intensity. The song begins with a tenderly strummed acoustic guitar before gradually layering in a beautiful and melancholic string arrangement, creating a backdrop for O’Connor’s devastating vocals. Her delivery of haunted lyrics like, “In my soul/ My blood and my bones/ I have wrapped your cold bodies around me,” is chilling and profoundly moving. Like her most impactful songs, “Three Babies” carries the weight of personal experience, blurring the lines between art and autobiography. In lines such as, “And of course I’m like a wild horse/ But there’s no other way I could be,” O’Connor poignantly communicates the fearless spirit that fueled her rise and, paradoxically, contributed to her commercial challenges.
“Black Boys on Mopeds” (I Do Not Want What I Haven’t Got)
“Black Boys on Mopeds” stands as one of Sinead O’Connor’s most stark and unwavering protest songs. A deeply affecting ballad featuring only her voice and multi-tracked acoustic guitars, it directly confronts the hypocrisy of a U.K. government that condemns violence abroad while its own police force perpetrates racist killings at home. The lyric, “England’s not the mythical land of Madame George and roses/ It’s the home of police who kill Black boys on mopeds,” is both specific and universally resonant in its condemnation of injustice. While rooted in its time and place, the song’s message remains sadly timeless, continuing to resonate far beyond its original context. Its enduring power is evidenced by covers from a diverse range of American artists, including indie singer-songwriter Phoebe Bridgers and alt-metal band Chevelle, demonstrating its lasting impact across genres and generations.
“Success Has Made a Failure of Our Home” (Am I Not Your Girl?)
Originally a 1962 country single by Loretta Lynn titled “Success,” Sinead O’Connor reimagined and reclaimed the song for her 1992 covers album, Am I Not Your Girl? Her rendition is dramatically transformed with a powerful horn and string arrangement that infuses the song with a heightened sense of urgency and melodrama. This new sonic landscape underscores the high stakes of the ruined relationship at the heart of the lyrics. From the very first notes of her quivering, emotionally charged vocal, O’Connor makes the song her own. However, she elevates it to an entirely new level in the newly written outro, where she repeatedly wails the album’s title question, “Am I Not Your Girl?,” with increasing desperation and raw anxiety, conveying a sense of emotional collapse on the verge of utter breakdown. O’Connor’s interpretation transforms a classic country lament into a searing and deeply personal expression of vulnerability and anguish.
“Special Cases” (Massive Attack feat. Sinéad O’Connor, 100th Window)
Given Massive Attack’s established history of successful collaborations with soulful and uniquely voiced singers like Horace Andy, Tracey Thorn, and Elizabeth Fraser, their eventual partnership with Sinead O’Connor felt like a natural and highly anticipated pairing. They enlisted O’Connor for several tracks on their 2003 album, the underrated 100th Window, with “Special Cases” emerging as the standout lead single. The song unfolds like a sweeping, atmospheric spy theme, but O’Connor grounds it in personal intimacy with lyrics that emphasize the crucial role of shared responsibility in any relationship. Lines like, “The deadliest of sin is pride/ Make you feel like you’re always right/ But there are always two sides/ It takes two to make love, two to make a life,” reveal a wisdom born of experience. “Special Cases” showcases O’Connor’s ability to seamlessly integrate her distinctive vocal style into Massive Attack’s signature trip-hop soundscape, creating a track that is both sonically adventurous and emotionally resonant.
