A reflection.
I have to be frank and say I was completely freaked at thought of meeting one of many musical icons. They say you shouldn’t meet them. I had too. We met at Ronaldsway, she had a huge grin and welcoming smile so I was immediately at ease. It didn’t stop me asking the most ridiculous question “How was your flight?!” She had enjoyed something from the In-Flight refreshments is all I’ll say!
We had good chat on way to the hotel. The rest was pretty standard production set up but my immediate impression was of a lady who was quiet but aloof. A delight.
Ok so I have had to rely on lots of photos, the better ones further down are by local lensman Gary Weightman, always able to make the stars shine.
I do have a few unique angles that I watched the show from.
🎤 Sinéad O’Connor at the Villa Marina: A Powerful Final British Isles Triumph
On 18 December 2019, Irish music icon Sinéad O’Connor took to the stage in the Royal Hall at the Villa Marina, Douglas, Isle of Man, for what would become her final concert in the British Isles. The show formed part of her comeback tour, marking her first performances after a long period away from the live stage. According to local sources and fan records, this turned out to be her last show in Britain sadly..
🎶 The Build-Up
Promoted by Triskel Promotions, the show was one of only two dates she played in the British Isles that winter (the other being London) — a rare opportunity for fans, given how quickly her Irish and US dates sold out.
Supporting O’Connor was The Screaming Orphans, an Irish folk/pop/rock quartet from Bundoran, County Donegal, personally selected to open the show and warm up the audience with an upbeat, spirited set blending Irish-rooted songs with contemporary pop sensibilities.
Soundcheck Royal Hall
🎵 The Show
Opening and Setlist
O’Connor opened with a stirring cover of “Queen of Denmark” (originally by John Grant), immediately showcasing her unmistakable vocal timbre — raw, rich, and emotionally anchored.
From there, she navigated through a carefully curated setlist that spanned classics and deeper cuts alike, including:
- Take Me to Church
- 4th and Vine
- I Am Stretched on Your Grave
- Black Boys on Mopeds
- The universally beloved Nothing Compares 2 U
- Three Babies
- Milestones (among others) Setlist.fm
Her performance felt both reflective and commanding, with moments of stripped-back vulnerability — especially on a cappella or lightly accompanied pieces — and bursts of defiance and power on more intense tracks.
Voice and Presence
Local reviews highlighted how, despite years away from regular touring, O’Connor’s voice remained compelling and potent throughout. On songs like I Am Stretched on Your Grave and Nothing Compares 2 U, the audience responded with audible gasps and prolonged applause — a testament to how her artistry could still captivate intimately and profoundly. Isle of Man Today
She balanced quietly intimate moments with striking emotional crescendos, demonstrating not just technical vocal strength, but an extraordinary capacity for emotional connection. At times, her relaxed stage presence allowed the audience to focus almost entirely on her voice and the lived experience woven into every lyric. Isle of Man Today
Audience Reaction
Audience responses were overwhelmingly positive. The crowd met every song with attention and affection, often visibly moved by the emotional depth of her music — especially on signature numbers like Nothing Compares 2 U. Many in the audience left wishing the concert could have stretched on longer. Isle of Man Today
Feedback from fans via community postings later reflected deep appreciation for having witnessed what might now be considered her last British Isles headline performance. manxforums.com
🎻 Support Act: The Screaming Orphans
Before O’Connor’s entrance, The Screaming Orphans delivered a spirited opening set filled with lively melodies and rich harmonies. Their blend of pop, traditional Irish, and contemporary folk provided a bright and engaging contrast that primed the audience perfectly for the emotional weight and breadth of O’Connor’s main set. Wikipedia
Their presence wasn’t just filler — they brought genuine musical energy that complemented Sinéad’s emotive performance and earned them a warm ovation from the crowd. Isle of Man Today
🎭 Legacy of the Night
In retrospect — especially following O’Connor’s passing in 2023 — the Villa Marina show holds extra poignancy. What started as a celebrated comeback date became, quite probably, the last time audiences in the British Isles would see her live. Wikipedia
The concert stood as a fitting finale to her performance career in this region: emotionally resonant, vocally formidable, and rooted in the fearless honesty that defined her artistry. It was a night defined by both musical brilliance and genuine human connection — the combination that has always set Sinéad O’Connor apart.
If you’d like, I can expand this with a setlist-by-song commentary or a comparative look at fan reactions from that night — just let me know!
expand this with a setlist-by-song commentary or a comparative look at fan reactions from that night —
Below is an expanded version combining both a setlist-by-song commentary and a comparative look at fan reactions from the night, written in a reflective review style rather than as a strict historical transcript. Where memories differ, I’ve leaned into how the songs felt in the room rather than forensic precision.
Sinéad O’Connor
Villa Marina, Royal Hall, Isle of Man — 18 December 2019
Setlist Commentary & Audience Reactions
Setlist-by-Song Commentary
1. Queen of Denmark
Opening with John Grant’s Queen of Denmark was a quietly defiant choice. Rather than easing the audience in with a familiar hit, O’Connor immediately established control of the room. Her delivery was conversational yet authoritative, and the lyrics—about resilience and self-possession—felt autobiographical. The hall fell into near-silence, an early sign that this would be a listening concert rather than a sing-along.
2. Take Me to Church
Not the Hozier song, but O’Connor’s own searing track from Theology. Here, her voice gained weight and intensity. The performance carried an edge—angry but disciplined—showing how she could still summon fire without theatrics. Audience reaction was respectful and attentive, with applause building slowly as the emotional impact registered.
3. 4th and Vine
This song brought a change in rhythm and mood. The band locked into a groove that felt almost celebratory, and O’Connor visibly relaxed. Smiles appeared in the crowd, and there was a sense of relief—proof that the evening wouldn’t be unrelentingly heavy.
4. I Am Stretched on Your Grave
One of the evening’s most arresting moments. The song’s fusion of ancient Irish lament and modern urgency suited the Isle of Man setting perfectly. Her phrasing was elastic, stretching and contracting with the melody. Many audience members later cited this as the emotional high point of the night.
5. Black Boys on Mopeds
Introduced with understated seriousness, this performance felt as politically urgent in 2019 as it did in 1990. The lyrics landed heavily, and the crowd’s reaction was hushed rather than rapturous—more contemplation than applause, followed by a heartfelt response at the end.
6. The Emperor’s New Clothes
Here, O’Connor leaned into her legacy of defiance. The song carried a sharper edge, and her delivery felt knowingly ironic, as if she were reflecting on decades of being misunderstood yet unbowed. This was one of the few moments where the audience responded mid-song, recognising the anthem-like quality.
7. Three Babies
Stripped back and intimate, this performance highlighted her ability to convey vulnerability without fragility. Her voice softened, almost whispering at times. The Royal Hall felt particularly still here, as if no one wanted to disturb the moment.
8. Milestones
A reflective piece that functioned almost as a pause in the set. This song felt like a meditation on survival, and in retrospect it carried an unintended sense of summation—an artist looking back without nostalgia, but with clarity.
9. Nothing Compares 2 U
Introduced without ceremony, as if it were just another song rather than the song. The performance avoided melodrama; instead, it was restrained and deeply human. The audience reaction was the loudest of the night, with sustained applause and visible emotion throughout the hall. Many attendees later remarked on how different—and more affecting—this version felt compared to earlier tours.
10. Mandinka
Energetic and almost playful, this song lifted the mood and reminded everyone of her early fire. It brought a sense of release, and the audience responded enthusiastically, some standing, some dancing gently in place.
Encore: Thank You for Hearing Me
A fitting, almost painfully appropriate closing song. Delivered with warmth and gratitude, it felt less like a performance and more like a benediction. The final applause was long, sincere, and tinged with the unspoken feeling that this moment mattered.
Comparative Look at Fan Reactions
In the Room
On the night itself, the audience response was characterised by attention rather than noise. This wasn’t a crowd chasing nostalgia; it was a room full of people listening closely, aware that they were witnessing something rare. Applause tended to come in waves—quiet at first, then swelling—as the emotional weight of each song landed.
Immediate Aftermath
Conversations overheard in the foyer spoke of surprise as much as admiration. Many fans commented on how strong and controlled her voice was, particularly given her time away from the stage. Others remarked on the absence of spectacle—no dramatic lighting, no elaborate staging—just songs and presence.
Online and Retrospective Reactions
In the days following the concert, fans who had attended began describing it as “intimate,” “brave,” and “unexpectedly uplifting.” After her death in 2023, those reflections deepened. The Isle of Man show came to be seen as not just another tour date, but a quietly monumental final chapter in her British Isles live career.
Several recurring themes emerged in retrospective fan commentary:
- Gratitude for her honesty and vulnerability
- Admiration for her refusal to play the role of a legacy act
- A sense of privilege at having witnessed her one last time
Closing Reflection
What made the Villa Marina concert so powerful wasn’t grandeur or finality—it was clarity. Sinéad O’Connor stood on stage not as a myth or a controversy, but as an artist still committed to truth in song. In hindsight, it feels like a perfect final British Isles statement: uncompromising, emotionally precise, and deeply human.
If you’d like, I can also:
- Rewrite this as a programme-style essay
- Adapt it into a press review or memorial piece
- Or focus more deeply on The Screaming Orphans’ support set and how it framed the evening
Triskel Promotions return to the live music scene with a fantastic coup in securing SINÉAD O’ CONNOR to play an all-seated concert in the Royal Hall,Villa Marina on Wednesday 18th December 2019.
Tickets for the show will be on sale from today 29th October 2019 at Midday at www.villagaiety.com or 01624 600555
Having left the stage four years ago on a journey of self-renewal, Sinéad returns to the stage; importantly, to the international stage, and sold out her entire run of Irish dates in under an hour.
She has announced an extensive US tour which sells out as quickly as shows are added. To date there is just one other show in the UK in London, which makes the Isle of Man concert particularly exclusive.
A voice that defied and defined a generation.
Expect an emotionally charged intimate concert from one of Ireland’s true musical legends.
Tickets from £42 including booking fee at www.villagaiety.com or Box Office 01624 600555
SINÉAD HAND PICKS THE SUPPORT BAND
For more information please visit Facebook Page Triskel Promotions.
Her return comes on the back of some small festival slots in Ireland and what is now considered a legendary performance on The Late Late Show in early September, which proved to the many many critics, she returns with a passion to perform and take us on her musical journey of life.
Two SOLD OUT shows at Dublin’s historic Vicar St this weekend gone simply overwhelmed with love and The Irish Times called it :”A once-in-a-generation singer in the form of her life”
As Jack Kerouac states “Genius gives birth, talent delivers”.
So where did Sinead O’Connor begin?
1970s Ireland was the backdrop from which Sinead O’Connor began her life. Born into tragic times with her own tragic story, one among many from those days, Sinead would not be defined by what was at that time beyond her control. Her spirit would blossom and bloom manifesting her gift, her voice.
Discovered by the drummer of well-known Irish band In Tua Nua, she co-wrote their first hit. Shortly after being discovered by Ensign records her first album ‘The Lion and the Cobra’ released in late 1987 reached Platinum sales. Sinead had arrived.
From the early new wave explosion of ‘Mandinka’ to the multi–platinum soul of Prince’s ‘Nothing Compares to You’ Sinead had left an indelible mark with her unique image and vocal style.
An artist beyond comparison – unique, uncompromising, a pioneer, a visionary are just some of the descriptions that might only touch the surface of Sinead O’Connor. Embodying a voice with beauty and innocence, a spirit part punk, part mystic with a combined fearlessness and gentle authenticity. This voice as Sinead’s unique expression would be echoed in the voices of other artists who she would inspire who came after.
Chart topping singles, hit albums, numerous awards an array of collaborations later and Sinead’s spiritual journey would lead her through a turbulent, troubled and restless existence to find solace in Islam.