The five best Sinéad O’Connor vocal performances
Throughout her career, Sinéad O’Connor was never looking to be any average pop singer. Across her decades of output, O’Connor would work with any type of backing track that would have her, making her most wild genre experiments by mixing alternative, folk and electronica into one piece. While the instruments changed around her, her voice was always the most enduring part of the music.
Compared to other alternative vocalists from around the same time, O’Connor’s gruff tone on a handful of performances brought a whole new depth to every track she made. Whether she was singing a ballad or going for broke on the most terrifying instrumentation imaginable, no one ever questioned her self-belief whenever she opened her mouth.
What’s even more mesmerising is her way of defying the traditional stereotypes of what a female vocalist was supposed to be. By not conforming to the common perception of other vocalists before her, O’Connor’s conviction in her beliefs and musical direction garnered her respect amongst every facet of the rock world, from Robert Plant to Anthony Kiedis.
Regardless of the power or vocal range needed for any of these songs, no cover song could do any of the studio tracks justice. As much as some gifted artists might try to perform any one track from O’Connor, no one can inhabit the song quite like she did.
The five best Sinéad O’Connor vocal performances:
‘Nothing Compares 2 U’ – I Do Not Want What I Have Got
From day one, Prince was a master at making phenomenal pop tunes. Even though he could have saved them for himself, ‘Nothing Compares 2 U’ by The Family remained one of the stunning lowlights of his catalogue during his 1980s prime. Then again, ‘The Purple One’ couldn’t claim ownership of the song once O’Connor got ahold of it.
While the version by Prince’s protégés is a fantastic pop song for what it is, O’Connor’s attention to detail on the song is too immaculate for words. Featuring the perfect use of her vocal break, O’Connor makes the listener feel like they’re in the room with her as she begs and pleads that her lover not to leave her. Plenty of songs have been written about breakups, but O’Connor’s vocal mannerisms are the definition of heartache.
‘Special Cases’ – 100th Window (Massive Attack)
At the start of her career, nothing was off the table for O’Connor. Although there were alternative tendencies to her first handful of hits, her goal was to make tracks that didn’t rely on genres to put them in a box. Now that she had folk, electronic and easy-listening audiences under her belt, why not deliver something in the trip-hop realm?
Having benefited from smoky female singers in the past, Massive Attack’s ‘Special Cases’ is perfect for O’Connor’s voice, taking the place of Tricky or 3D by delivering a calculated performance that feels like it could fall apart at any moment. Stretching out for five minutes, O’Connor’s level of restraint and raw power in this version is the reason why she should be as revered as she is.
‘The Parting Glass’ – Sean-Nós Nua
One of the biggest attributes of O’Connor was her versatility. Even with her stable voice, she could shape her songs into anything she wanted with the right idea behind her. Then again, the best ideas often come from traditional music.
Off her first major folk affair, ‘The Parting Glass’ is a gorgeous take on the Irish drinking song, sung as waves of various folk instruments crash around her. Instead of the usual rhythmic structure, O’Connor’s unique way of stretching out the tempo makes the song feel much more jovial. Where most songs that get drawn out can turn into a slow dirge in such situations, O’Connor delivers a clinic on how to make a slow burn.
‘All Apologies’ – Universal Mother
Although O’Connor could write her most powerful lyrics independently, she could also be a phenomenal interpreter of other people’s works. In light of the passing of Kurt Cobain just months before Universal Mother came out, her version of ‘All Apologies’ is one of the most sobering cuts she ever made.
Considering the rest of the rock world was still reeling from the death of Kurt Cobain, O’Connor treats the song with reverence and respect, practically shaking with every word as she asks for understanding from those who didn’t understand Cobain’s struggles. Losing an icon wouldn’t be easy, but O’Connor’s voice was the first step to healing.
‘The Emperor’s New Clothes’ – I Do Not Want What I Have Got
Never for a second did O’Connor mince words about how she felt. Even though some of her beliefs got her in hot water, like her infamous SNL performance, O’Connor never backed down for a second, looking to change the world around her through the power of her music. Although most may have come to her breakout record for a folk-rock experience, ‘The Emperor’s New Clothes’ is a different story.
While the final track features two ex-members of The Smiths for a rhythm section, O’Connor commands the performance, retelling the famed Hans Christian Anderson story through her own modern lens. Although most of the song has to do with the trials and tribulations of life, O’Connor is speaking from experience, standing tall even when the harshest critics are after her.
