She was quiet and loud. Brilliant and bashful. Earnest and mischievous. She oozed a kind of creative lava
I Do Not Want What I Haven’t Got followed, catapulting her to an unnerving level of fame, as her cover of Prince’s song Nothing Compares 2 U almost monopolised MTV and radio stations. The songs are pearls on a lengthy chain: The Last Day of Our Acquaintance; Thank You for Hearing Me; No Man’s Woman; 8 Good Reasons; one could go on and on.
But our real heroes have always been outsiders. And so Ireland embraced her music, but the media was often tumultuous in her wake, a conditional and sometimes patronising love that thrived on what it deemed to be controversy, but what was in fact a life of truth-telling. For many people around the world, but especially in Ireland, she occupied the kind of space that cannot be filled. And how big that space is
In my encounters with her over the years, I always noted two primary states: personally sweet, and musically fastidious. At sound checks, she would call for tweaks over and over until she felt things were just right. They had to be, because it wasn’t just her voice that was her instrument, but the microphone she held. Ultimately, she understood what was needed for her to be properly amplified; sonically, politically, spiritually.
Kathryn Ferguson’s 2022 documentary on the singer correctly framed O’Connor as an artist who both fought and superseded patriarchal cynicism and conservative insecurity. The film illuminated the steadfastness of her values, and the magic of her artistry, even as she sometimes reeled personally, mentally and creatively.
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