Sinéad O’Connor, the singular Irish singer-songwriter who passed away at 56, left behind a powerful legacy. Among her many achievements, she is perhaps most famously known for taking a Prince-penned song and transforming it into an enduring classic arguably surpassing the original: “Nothing Compares 2 U.”
Sinéad O’Connor’s rendition of “Nothing Compares 2 U” became an anthem of heartbreak and raw emotion. Getty Images/Ringer illustration
This is the story of how Sinéad O’Connor took “Nothing Compares 2 U,” a song gifted by Prince, and made it definitively her own. It’s a tale of artistic ownership, profound emotional resonance, and the complex relationship between an artist and their signature song. While Prince was a prolific songwriter who generously shared his work, Sinéad’s interpretation of “Nothing Compares 2 U” was not merely a cover; it was a transformation that resonated deeply with a global audience.
Prince, renowned for his songwriting prowess, penned countless songs, many of which he offered to other artists. Several of these songs found success when performed by women. The Bangles’ hit “Manic Monday,” Chaka Khan’s electrifying “I Feel for You,” and Sheila E.’s vibrant “The Glamorous Life” are prime examples. Some might even argue that Cyndi Lauper’s version of “When U Were Mine” surpasses Prince’s own. These covers highlight Prince’s songwriting versatility and the unique perspectives female artists brought to his compositions.
However, Sinéad O’Connor’s rendition of “Nothing Compares 2 U,” featured on her seminal 1990 album I Do Not Want What I Haven’t Got, operates on a different plane. It transcends the typical cover song dynamic. It’s not simply a different take; it’s a complete artistic reimagining. Forget the initial transaction, the permission granted by Prince for her to record his song. Sinéad’s version is a sonic and emotional takeover. She inhabits the song so completely, so authentically, that it becomes inextricably linked to her identity. She doesn’t just sing it; she embodies it, altering its fundamental meaning and claiming it as her own. This audacious act, this fearless artistic theft, is what cemented “Nothing Compares 2 U” as Sinéad O’Connor’s signature song and a defining anthem of the 1990s. It’s akin to Nicolas Cage declaring he’s going to steal the Declaration of Independence – bold, unexpected, and ultimately, unforgettable.
But who was this artist capable of such a feat? What experiences shaped her unique ability to connect with such profound vulnerability and strength in her music? In her 2021 memoir, Rememberings, Sinéad O’Connor offered a raw and unflinching look into her life. Born in Dublin, Ireland, in 1966, she endured a turbulent childhood marked by the separation of her parents when she was nine. Custody was initially granted to her father, but Sinéad’s relationship with her mother was deeply scarred by physical and emotional abuse. She recounted harrowing instances of abuse, including being beaten and forced to repeat “I am nothing.” These early traumas profoundly impacted her, shaping both the fragility and the fierce resilience that characterized her artistic expression. Her mother’s death in a car accident when Sinéad was 18, shortly before her music career began to take off, adds another layer of complexity to her story. Understanding this background is crucial to grasping the depth of emotion and hard-won self-assurance that permeated every note she sang.
Rob Harvilla’s book, “Songs That Explain the ’90s,” delves deeper into the cultural impact of iconic songs like “Nothing Compares 2 U.”
The typical narrative of a pop star’s journey often includes a period of ascent, a moment of basking in the glow of fame and success. However, Sinéad’s experience defied this conventional arc. Even at the peak of her commercial success with “Nothing Compares 2 U” and the album I Do Not Want What I Haven’t Got, she found little joy. She describes learning about the song and album’s simultaneous number one chart positions in America while sitting on a toilet – a starkly unglamorous setting for such monumental news. Her reaction was not elation, but tears. “Whoever it was who told me got cross with me because I didn’t take the news happily. Instead, I cried like a child at the gates of hell,” she wrote. This anecdote reveals a fundamental disconnect between the external markers of success and her internal emotional landscape.
Her debut album, The Lion and the Cobra, released in 1987, hinted at the biblical themes and fierce spirituality that would become recurring elements in her work. The title itself, drawn from Psalm 91, speaks of protection and overcoming adversity: “You will tread on the lion and the cobra.” The album cover, featuring Sinéad with her mouth open, head shaved, was met with resistance from her record label, who deemed it too aggressive. They preferred a softer image. However, Sinéad stood her ground, asserting her artistic vision from the outset. She wasn’t screaming; she was singing, and that raw, unfiltered expression was central to her artistic identity. The lead single, “Mandinka,” inspired by the TV series Roots, further demonstrated her willingness to tackle complex and politically charged themes. She drew parallels between the oppression depicted in Roots and her own experiences with the theocracy of Ireland and personal oppression, a comparison that, while potentially contentious, underscored her unwavering commitment to speaking her truth.
I Do Not Want What I Haven’t Got, her sophomore album released in 1990, took its title from a dream and a poignant imagined conversation with her deceased mother. This album delved even deeper into themes of loss, forgiveness, and complex familial relationships. The opening track, “Feels So Different,” directly addresses her mother. The album as a whole seems driven by the realization that forgiveness can be a heavier burden than resentment, a sentiment that permeates many of Sinéad’Connor’s most powerful songs. “I Am Stretched on Your Grave,” another track from the album, samples James Brown’s “Funky Drummer” and continues to evoke memories of her mother when she performs it live. “Three Babies” explores the pain of miscarriage, while also celebrating her children. Even on the seemingly lighter, more pop-infused track “The Emperor’s New Clothes,” her lyrics retain a sharp edge, a willingness to confront uncomfortable truths.
“Black Boys on Mopeds,” another powerful song on the album, directly confronts social injustice, referencing the deaths of Black teenagers in London during police chases. The chorus, “England’s not the mythical land of Madame George and roses / It’s the home of police who kill Black boys on mopeds,” is a stark indictment of systemic racism and a rejection of romanticized notions of national identity. This album, and indeed Sinéad’s entire body of work, is characterized by its unflinching honesty and refusal to shy away from difficult subjects.
Then comes “Nothing Compares 2 U,” the sixth track on I Do Not Want What I Haven’t Got. Written by Prince, it was originally released in 1985 by his side project, the Family, with lead vocals by Paul Peterson (St. Paul). While the original version is well-regarded, it remained largely within Prince’s dedicated fanbase. Prince himself, who tragically passed away in 2016, alluded to the song’s origins in his memoir The Beautiful Ones. He connected its themes of heartbreak and loss to the trauma of his parents’ divorce, revealing the deeply personal roots of his songwriting.
However, when Sinéad O’Connor encountered “Nothing Compares 2 U,” she brought her own “knowledge,” her own experiences of loss and pain, to the song. She transformed it into a deeply personal lament, widely interpreted as being directed towards her mother. This personal connection is palpable in her performance, most notably in the iconic music video.
The music video for “Nothing Compares 2 U” was revolutionary in its simplicity and emotional impact. In an era of MTV driven by flashy visuals and rapid cuts, the video focused almost entirely on Sinéad’s face in close-up. Shaved head, black turtleneck, black background – it was stark, severe, and utterly captivating. The emotional climax of the video, the moment tears well in her eyes as she sings the line about the doctor, is genuinely heart-wrenching. This raw vulnerability, devoid of artifice, resonated profoundly with audiences. The shaved head, initially a rebellious act against record label pressure to conform to conventional feminine ideals, became a powerful visual symbol of her artistic independence.
In 1991, Rolling Stone readers recognized Sinéad O’Connor’s impact, naming her Artist of the Year, I Do Not Want What I Haven’t Got Album of the Year, and “Nothing Compares 2 U” Song of the Year. She was simultaneously lauded and criticized, a testament to her polarizing nature. Her refusal to have the national anthem played at a New Jersey show sparked controversy, foreshadowing later, more significant acts of defiance. In interviews, she spoke her mind freely, expressing admiration for figures like Van Morrison and Roseanne Barr, and disdain for others like Frank Sinatra and Vanilla Ice. She also openly discussed a disturbing encounter with Prince, revealing a darker side to their professional relationship.
According to Sinéad, her relationship with Prince took a disturbing turn. She recounted an unsettling encounter at his Los Angeles home, detailed further in her memoir. Summoned to his residence, she described a bizarre and intimidating experience involving verbal reprimands, a refused bowl of soup, and a threatening pillow fight that escalated into a physical chase. This incident, she claimed, soured her relationship with “Nothing Compares 2 U,” despite its immense success. While acknowledging a connection to the song, she expressed anger towards Prince and a desire to distance herself from it, stating, “I’m bored with the song at this stage.”
Prince’s own original studio recording of “Nothing Compares 2 U” was finally released posthumously in 2018. Recorded in 1984, it offers a glimpse into his initial vision for the song. While a beautiful rendition, it lacks the raw emotional intensity and personal weight that Sinéad O’Connor brought to her iconic version.
Sinéad O’Connor’s “Nothing Compares 2 U” is more than just a cover song. It’s an act of artistic alchemy. She took Prince’s creation and infused it with her own lived experience, her own pain, and her own unwavering spirit. She saw something in the song that perhaps even Prince himself didn’t fully realize. She unearthed a depth of emotion, a rawness of vulnerability, that transformed a beautiful song into an anthem of heartbreak and resilience. Her rendition is the sound of her inhabiting Prince’s musical space, understanding its emotional architecture, and redecorating it with the artifacts of her own soul. While Prince’s version is a testament to his songwriting genius, Sinéad’s version is a testament to her transformative artistry. She didn’t just sing “Nothing Compares 2 U”; she became it.
I know that livin’ with you baby was sometimes hard
But I’m willing to give it another try
In 1992, in another act of defiance that further cemented her image as a fiercely independent and provocative artist, Sinéad O’Connor tore up a picture of Pope John Paul II on Saturday Night Live while singing Bob Marley’s “War” a cappella. This act, protesting child abuse within the Catholic Church, was a seismic moment in 1990s pop culture, generating intense controversy and effectively blacklisting her from mainstream media for a time. Yet, it was also a deeply punk rock gesture, a fearless challenge to power and authority. As she wrote in her memoir, the fallout from the incident hurt “a lot less than rapes hurt those Irish children.” This unwavering commitment to her convictions, even at great personal cost, is another defining characteristic of Sinéad O’Connor’s legacy. Her version of “Nothing Compares 2 U” remains a powerful testament to her unique artistry – a song she didn’t just sing, but truly made her own, proving definitively that when it comes to emotional resonance and raw, unfiltered feeling, nothing compares to her original take.
