Sinéad O'Connor ranked among the most distinctive and controversial pop music stars of the alternative era, the first and in many ways, the most influential of the numerous female performers whose music dominated airwaves throughout the last decade of the 20th century. Brash and outspoken -- her shaved head, angry visage, and shapeless wardrobe a direct challenge to popular culture's long-prevailing notions of femininity and sexuality -- O'Connor irrevocably altered the image of women in rock; railing against long-standing stereotypes simply by asserting herself not as a sex object, but as a serious artist, she kick-started a revolt which led the way for performers ranging from Liz Phair to Courtney Love to Alanis Morissette.

O'Connor was born in Dublin, Ireland, on December 8, 1966. Her childhood was often traumatic: her parents divorced when she was eight, and she later claimed that her mother, who was killed in a 1985 automobile accident, frequently abused her. After being expelled from Catholic school, O'Connor was arrested for shoplifting and was shuttled off to a reformatory; at the age of 15, while singing a cover of Barbra Streisand's "Evergreen" at a wedding, she was spotted by Paul Byrne, the drummer for the Irish band In Tua Nua (best known as protégés of U2). After co-writing the first In Tua Nua single, "Take My Hand," O'Connor left boarding school in order to focus on a career in music, and began performing in area coffeehouses; she later studied voice and piano at the Dublin College of Music, and supported herself delivering singing telegrams.

Upon signing a contract with Ensign Records in 1985, O'Connor relocated to London; the following year she made her recorded debut on the soundtrack to the film The Captive, appearing with U2 guitarist the Edge . After scrapping the initial tapes for her debut LP on the grounds that the production was too Celtic, she took the producer's seat herself and began re-recording the album, dubbed The Lion and the Cobra in reference to Psalm 91; the result was one of the most acclaimed debut records of 1987, with a pair of alternative radio hits in the singles "Mandinka" and "Troy." Almost from the outset of her career, however, O'Connor was a controversial media figure; in interviews following the LP's release, she defended the actions of the IRA, resulting in widespread criticism from many corners, and even burned bridges by attacking longtime supporters U2 , whose music she declared "bombastic."

However, O'Connor remained a cult figure prior to the release of 1990's chart-topping I Do Not Want What I Haven't Got , a harrowing masterpiece sparked by the recent dissolution of her marriage to drummer John Reynolds . Boosted by the single and video "Nothing Compares 2 U," originally penned by Prince , the album established her as a major star, but again controversy followed as tabloids took aim at her romance with black singer Hugh Harris while continuing to attack her outspoken politics. On American shores, O'Connor also became the target of derision for refusing to perform in New Jersey if "The Star Spangled Banner" was played prior to her appearance, a move which brought public criticism from no less than Frank Sinatra , who threatened to "kick her ass"; she also made headlines for pulling out of an appearance on the NBC program Saturday Night Live in response to the misogynist persona of guest host Andrew Dice Clay , and even withdrew her name from competition in the annual Grammy Awards despite four nominations.

By then a virtual pariah, O'Connor 's retirement from the music business was subsequently reported, although it was later claimed that she had merely returned to Dublin with the intent of studying opera. She kept a low profile for the next several years, starring as Ophelia in a theatrical production of Hamlet and later touring with Peter Gabriel 's WOMAD festival. She also reportedly suffered a nervous breakdown and even made a half-hearted attempt at suicide. In 1994, however, O'Connor returned to pop music with the LP Universal Mother , which, despite good reviews, failed to relaunch her to superstar status; the following year she announced that she would no longer speak to the press. The Gospel Oak EP followed in 1997, and in mid-2000 O'Connor issued Faith and Courage , her first full-length effort in six years. Sean-Nós Nua followed two years later, and was widely hailed for its return to the Irish folk tradition as its inspiration.