For a turbulent 56 years, Sinéad O’Connor weathered more than her share of adversity, enduring significant personal and public struggles. Yet, she channeled that pain into a remarkable heaven of songs. Over 10 albums and more than three decades, her work continually grappled with a profound sense of belonging, exploring themes from the intimacy between lovers to the complex dynamics of nations and religions. Among all her identities, she perhaps wrestled most with herself, a journey mirrored in her changing names—from Magda Davitt to Shuhada’ Sadaqat, although she continued to create art under her birth name, O’Connor.
In the public’s mind, O’Connor may be most renowned for her performance of one extraordinary song, “Nothing Compares 2 U,” the blockbuster hit penned by Prince. And while her haunting vocals on that track are iconic, this is merely a fraction of her essence as an artist. O’Connor’s body of work is expansive and rich, with an intellectual and sonic depth that few artists can parallel.
Following her untimely death at the age of 56, we have compiled a tribute to her significant accomplishments. Here are 10 essential songs that illuminate the breadth and depth of Sinéad O’Connor’s musical artistry.
“Mandinka” (The Lion and the Cobra, 1987)
The second single from O’Connor’s debut album, “The Lion and the Cobra,” was the vibrant “Mandinka.” For many listeners, it was this song that served as their introduction to her uniquely captivating and versatile voice. “Mandinka,” inspired by an African tribe depicted in Alex Haley’s 1976 book “Roots: The Saga of an American Family,” perfectly bridges the energetic rock of her early career with the unconventional pop that would later become her signature. In this song, O’Connor showcases every facet of her vocal prowess—her fervent belts, radiant head voice, and intimate lower register are all vividly presented, signaling the emergence of a genuinely distinctive talent.
“Drink Before the War” (The Lion and the Cobra, 1987)
Another standout track from O’Connor’s debut album, “Drink Before the War,” is a poignant, simmering song that sharply critiques a male oppressor—his warmongering, his privileged demeanor, his unwillingness to listen, and his own emotional machinations. In the final pre-chorus, she sharply delivers the line, “Why don’t you go out there and do something useful?”—crafting an ambiguity that leaves it unclear whether she is quoting these tyrants or speaking directly to them. Over the course of five minutes, O’Connor escalates to a fever pitch, her aching alto ringing out fervently as she offers a rallying cry to those who have suffered under such oppression. O’Connor had a gift for conveying a tormented perspective, but in “Drink Before the War,” her pain metamorphoses into resounding, earth-moving strength.
“The Last Day of Our Acquaintance” (I Do Not Want What I Haven’t Got, 1990)
Devastating in its simplicity, “The Last Day of Our Acquaintance” finds its power in the quietude of endings. With just a recurring acoustic guitar and a handful of poignant verses making up most of the track, this song is a standout from the 1990 album “I Do Not Want What I Haven’t Got” — the very same album that houses “Nothing Compares 2 U.” It’s the compelling combination of vulnerability and raw emotion that leaves a lasting impression on listeners.
“Black Boys on Mopeds” (I Do Not Want What I Haven’t Got, 1990)
Imagine the year is 1990. You eagerly pick up a copy of Sinéad O’Connor’s “I Do Not Want What I Haven’t Got,” press play, and anxiously wait to hear the iconic single “Nothing Compares 2 U.” But just one track before that Prince-penned classic, a profound and unexpected ballad greets you — “Black Boys on Mopeds.”
Among O’Connor’s most touching compositions, “Black Boys on Mopeds” is a sharp and haunting critique of deceptive politicians, rampant police brutality, and the concerning trajectory of society. Inspired by the police killing of a Black man in England in 1983, the song’s lyrics maintain an unsettling relevance, even after three decades. With its stark delivery, evocative message, and delicate melody, this track is not only quintessential Sinéad O’Connor, but also a mirror into her soul.
“The Emperor’s New Clothes” (I Do Not Want What I Haven’t Got, 1990)
This song is remarkably candid in O’Connor’s catalog, in several respects. Firstly, it’s a brighter, more radio-friendly number compared to much of her other work, masterfully crafted for the alternative radio landscape of the early ’90s (it even ascended to No. 1 on the Billboard US Alternative Airplay list). Secondly, it’s lyrically direct and unyielding, as O’Connor, a single Irish Catholic mother at the dawn of her international fame, confronts a world quick to pass judgment on her. Although the song is undeniably catchy, it is imbued with O’Connor’s characteristic defiance, with her resolute promise to “live by my own policies” and “sleep with a clear conscience,” regardless of public opinion.
“War” (Live Performance, 1992)
Sinéad O’Connor’s stirring rendition of “War” by Bob Marley and the Wailers, delivered live on Saturday Night Live in 1992, stands as one of the most memorable performances in television history. O’Connor, alone on the stage, sang a cappella, thoughtfully altering some of the original lyrics to address child abuse. As she sang the phrase “good over evil,” she made a profound statement by tearing an image of Pope John Paul II, symbolizing her protest against the Catholic Church’s sexual abuse scandal, and declared, “Fight the real enemy.” This bold act elicited immediate backlash and resulted in O’Connor being banned from NBC. Nonetheless, it demonstrated O’Connor’s steadfast commitment to speaking her truth, regardless of the potential fallout.
“Thank You for Hearing Me” (Universal Mother, 1994)
The end of a romantic relationship doesn’t always leave only heartache in its wake. In “Thank You for Hearing Me,” O’Connor sifts through the good, choosing to highlight and cherish the more positive aspects of a partnership. Most listeners agree that this song seems intrinsically linked to the ending of her relationship with Peter Gabriel. As the song approaches its conclusion, there’s a poignant shift: “Thank you for breaking my heart,” she candidly admits.
“All Apologies” (Universal Mother, 1994)
Sinéad O’Connor has never shied away from covering other artists’ songs, from “How Insensitive” to “War.” Yet, her understated rendition of Nirvana’s “All Apologies” stands out as one of her finest. Released only a few months after the tragic death of Kurt Cobain, O’Connor inverts the grunge formula of the original composition. Instead of transitioning from quiet verses to loud, distorted choruses, she maintains a soft and inviting tone, compelling listeners to lean in closer and closer as the song unfolds. The outcome is equally impactful and, perhaps, even more emotionally stirring.
“Jealous” (Faith and Courage, 2000)
The standout track from 2000’s “Faith and Courage” album beautifully showcases both O’Connor’s arresting voice and her sincere lyricism. Like many of her songs, “Jealous” narrates the tale of a toxic relationship, but in this case, she’s clearly moved beyond it: “I don’t deserve to be lonely / Just ’cause you say I do,” she declares. While the song is gentle in its musical delivery, its message is powerfully resonant. It echoes the stern compassion of a best friend, one who is weary of hearing about your abusive partner and sincerely wishes for you to find the happiness you unquestionably deserve.
“Special Cases” (100th Window, 2003)
In collaboration with the trip-hop group Massive Attack for their fourth album, “100th Window,” O’Connor co-wrote and performed “Special Cases.” The track is so seamless that it feels as if O’Connor has always been a part of the band. “Special Cases” is more than just a collaboration that complements Massive Attack’s signature chilled vibes; O’Connor’s vocals, both delicate and strong, resonate strikingly, serving as a reminder to the listener: discerning a toxic relationship requires a close and honest examination.