Sinead O'Conner
Monday 9th March 2015
stage 1
Botanic park Womadelaide Festival Adelaide Australia

SETLIST
Intro and mumbling
Queen of Denmark
(John Grant cover)
4th and Vine
Take Me to Church
Intro dedicated to Bobby Christina Brown
8 Good Reasons
The Wolf Is Getting Married
Harbour
Dead air and a false start
In This Heart
Black Boys on Mopeds
Turn down the lights and intro to the irish anthem
Jeremiah/ Irish Anthem
Thank You for Hearing Me
Band introductions
Dense Water, Deeper Down
The Healing Room
Dead air
The Voice of My Doctor
The Emperor's New Clothes
The Last Day of Our Acquaintance
applause
Encores:
Streetcars (solo and astoundingly beautiful- you could hear a pin drop during most of the song,crowd of 20,000 were totally entranced )
Thank you,Thank you so very much ,Womad is always the greatest !
Nothing Compares 2 U

Lineage

SP CMC-8-25 cards > Sony-PCM-M10 > SP battery Box with 12 volt battery > wav file 16 bit > Mac pro > Audition (volume adjustments,remove or tone down applause , enhance using spectral frequency ) > sbe xact flac transfer .
recorded. mastered and transferred by GGB

This recording is made to sound good on my system,( but it has also been tested on two other systems as well ) which does not have a sub woofer,if theres too much bass for you - sorry - best do your own remix :-) just make sure you add that you remixed it to the setlist and lineage details if you spread your version around.

Please don't sell, buy the merchandise and albums, go see the band live.
PLAY THIS LOUD AS NATURE INTENDED .
Above all Enjoy !!!!

Review adelaide advertiser
Sinead O’Connor

Womadelaide — Music

Botanic Park, March 9

As the closing act for Womadelaide 2015, Irish songstress Sinead O’Connor was everything one might have expected or could have hoped for and so much more; alternately shy and feisty, self-conscious and supremely confident, fragile and funny.

She courts confrontation by dressing in a priest’s collar and crucifix, yet demurely apologies for keeping her sunglasses on in the face of such a huge audience.

Her lyrics and stage banter are peppered with four-letter words, but she hesitates about jokingly changing the lyrics of The Healing Room to make reference to a “cucumber’’ in front of children.

Above all, that distinctive voice rang through as clear as a church bell, constantly shifting from a prayer-like Celtic hush to the ferocious roar of a lioness protecting her cubs. It was mesmerising, exhilarating, joyous and inspirational to behold.

O’Connor’s songs do not so much build or escalate as they do erupt mid-track, as on the opening Queen of Denmark and, later, when the flowing melody of the sublime Harbour gives way to an angry outburst of instrumental energy.

She is just as fearless and adventurous musically as she is politically, merging bits of ragga rhythm with a rousing rockabilly shuffle on 4th and Vine, then changing the lyrics of the Irish national anthem to words from the 1916 proclamation and dedicating it to Australia’s indigenous peoples.

All the while, she fiddled anxiously with her Walkman-like headset until the earphones finally broke, wrestled with the sound mixer about her microphone volume and politely told the spotlight operator to get the “fucking’’ thing out of her eyes.

Tracks from O’Connor’s new album I’m Not Bossy, I’m the Boss comprised about half the set and proved the equal — and possibly the most upbeat — of anything she has ever written.

Take Me To Church is an uplifting, crowd-pleasing pop singalong, 8 Good Reasons has an infectious slow reggae groove and deeply personal lyrics, Dense Water Deeper Down is a classic rocker and The Voice of My Doctor becomes a raucous, embittered snarl.

The highlight, however, was also the show’s most exquisitely delicate moment as, unaccompanied, Sinead began singing the Irish traditional-flavoured In This Heart with a voice so pure and beautiful it was impossible to imagine it being surpassed — until her two female guitarists joined in on sublime harmonies.

In between were a smattering of her greatest hits: Black Boys on Mopeds slowed down to a solo guitar number during which you could hear a pin drop, the jaunty and jumping Emperor’s New Clothes, and an encore performance of The Last Day of Our Acquaintance.

Almost inevitably, O”Connor closed with Nothing Compares 2 U, accompanied by just two strumming guitars and experimenting with the phrasing as her final soaring notes floated out across Botanic Park.

Nothing compares indeed.

Patrick McDonald


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