'She never stopped playing by her own rules, and as an artist she remained unsurpassable.' ✍️ Ed Power on interviewing Sinéad O’Connor - and the things that mattered to her more than music
In the half-light, you could see the faintest tracings of tattoo marks on her face. In 2013 Sinéad O’Connor had the letters “B” and “Q” inked on either cheek . Eighteen months later, meeting the press in a dimly-lit recording studio in central Dublin, she’d had them removed with laser. With the watery sun creeping in through the shutters, the outlines were still visible – two dark, angry swirls that contrasted with her pale, questing eyes.
She had given her support to a recent referendum in Ireland intended to strengthen children’s rights – and wanted to express frustration that the turnout had been so low. Her family was important to her, she explained. Concern for her kids’ safety was one reason she’d left London to move to Bray in Co Wicklow, a Victorian seaside resort town whose chief attraction was its faded glamour.
“London is very druggy. It’s very hard to keep kids away from drugs, to protect them from begin mugged. Jake [her eldest child] was mugged a bunch of times before he was 14… and I wouldn’t want to move the kids away from their dads; as much as none of us are perfect, you try to put your kids first.” These things mattered to her more than music – certainly more than the frippery that went with music: the empty acclaim, the fake praise, the backlashes (such as the one she had endured when she ripped up the Pope’s portrait on
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