Morrissey has lashed out at tributes to the late Sinéad O’Connor, and has claimed people are only praising her now “because it’s too late”.
It seems the former frontman of iconic Manchester band The Smiths is living up to his recent controversial label and proving to be his outspoken self once again, as this time, he’s decided to take aim at the tributes paid to Sinéad O’Connor by celebrities and the media, accusing them of “not having the guts” to support her when she was “alive and looking for you”.
Legendary Irish singer Sinéad O’Connor sadly passed away at the of 56 yesterday, her “devastated” family confirmed in a statement.
O’Connor was most well-known for her famous 1990 cover of Prince’s ‘Nothing Compares 2 U’, as well as for releasing 10 critically-acclaimed solo albums throughout her revered career.
Sinéad O’Connor passed away at the of 56 / Credit: Sinéad O’Connor (via Facebook)
She was also known for being a vocal advocate for women in the music industry, for campaigning for women’s reproductive rights, and for publicly speaking out against the Catholic church, but was also known to have Bipolar Disorder and had been candid about her struggles with mental health over the years.
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The singer’s death came 18 months after the death of her 17-year-old son Shane, who had been on suicide watch before his passing.
Her cause of death has not yet been disclosed, but is “not being treated as suspicious” by police.
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In the hours since O’Connor’s death, many fans, famous names, and musicians and industry figures have publicly paid their tributes – but Morrissey has hit out at this response, and has taken to his personal website to have his say in an open letter.
Morrissey hits out at Sinéad O’Connor tributes claiming it’s ‘too late’ / Credit: Morrissey (via Facebook)
Titled ‘You Know I Couldn’t Last’, Morrissey wrote that “the cruel playpen of fame gushes with praise for Sinead… [but] you praise her now ONLY because it is too late”, adding that many didn’t “have the guts to support her when she was alive and she was looking for you”.
He continued: “She was dropped by her label after selling seven million albums for them. She became crazed, yes, but uninteresting, never.
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“She had done nothing wrong. She had proud vulnerability… and there is a certain music industry hatred for singers who don’t ‘fit in’ (this I know only too well), and they are never praised until death – when, finally, they can’t answer back.
“Music CEOs who had put on their most charming smile as they refused her for their roster are queuing-up to call her a “feminist icon”. And 15 minute celebrities and goblins from hell and record labels of artificially aroused diversity are squeezing onto Twitter to twitter their jibber-jabber… when it was YOU who talked Sinead into giving up…
“You didn’t have the guts to support her when she was alive”/ Credit: Wikimedia Commons
“Because she refused to be labelled, and she was degraded, as those few who move the world are always degraded.”
The 64-year-old former frontman turned solo artist – who has always been outspoken throughout his career, but has more recently become a widely divisive and heavily critiqued figure due to publicly voicing his views on a number of contentious topics spanning the genres of politics, race, culture, religion, and more – closed out his letter by calling O’Conner “a challenge” but one that “couldn’t be boxed-up”.
The K’s kick off Manchester’s BRITs Week celebrations early with jam-packed intimate gig
The Manc
If you were ‘Hoping Maybe’ to see The K’s at some point this year, this is your sign do it, as the rising indie band did not let the occasion of playing an intimate BRITs-backed gig get to them – they were buoyed by it.
Beloved city centre venue Gorilla was overflowing for The K’s last night, hosting an unreal small-cap set as part of Brits Week ‘26 for a very important cause: War Child.
Perfectly teed up by fellow nearby band, Florentenes from Bolton, The K’s took to a familiar stage many years on from their debut, and instantly had the crowd ready and raring for an hour of pure tunes and some very, very sweaty brows.
Earlestown’s finest certainly carried that Northern charm and energy throughout the whole night; their indie and almost nostalgic lyrical storytelling has you moshing one minute, whilst grasping your mate and ascending into live music heaven the next. There really aren’t many feelings like it.
Sobbing and swaying in the vast ocean of shoulders whilst screaming the lyrics to ‘Helen. Oh I’, I questioned how any compliment will ever compare to launching “thousand ships every time” from a kiss.
The K’s were yearning before Wuthering Heights made it vogue (again).
Musically, the band were seamless and a well-oiled machine, and so were the audience as they wholeheartedly echoed every lyric back at the lads and bounced it off the walls.
The K’s have come a long way since their first visit to Gorilla (Credit: Lucy Wagstaffe)
Every primary school assembly proudly led us to this moment, and it did not disappoint, displaying their increasingly seasoned and successful career, which I can only imagine is going to go from strength to strength this year.
I don’t think we even one more fan could have squeezed one more passionate fan into Gorilla on the night; it was heaving with people and pride; the sweat dripping down the walls indicated things are big for these local lads, and we couldn’t be prouder.
They are another prime example of shining a deserving light on Northern artists! And having the 2026 BRIT Awards up here with us is a testament to that.
Featured Images — Lucy Wagstaffe (supplied via War Child UK)
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Florence + The Machine at the Co-op Live, Manchester – the star has never been better
Clementine Hall
Florence + The Machine make a triumphant return to the stage in a thrilling exploration of female rage.
When you think of Florence Welch, you can’t help but picture her barefoot complete with flower crown and bouncy skirts racing around the stage in a fairy-like fashion.
And yes whilst she still is this, the band’s new era is suddenly a lot darker and haunting with their new album Everybody Scream exploring topics of loss and grief.
Florence and her coven-like quartet of dancers did not leave the stage once throughout the 21-track setlist, but not once did it feel tired.
Image: The Manc
The album’s title track kicked off the show before transitioning into fan-favourite anthem Shake It Out.
Florence’s voice is just as recognisable as ever, as is her long auburn hair that she swishes with her as she strides up and down the stage alongside her flowing sleeves.
Beneath the powerful vocals, the haunting atmosphere grew stronger as Seven Dials and Which Witch saw the dancers, coined as ‘the witch choir’, crawling up and down the stage in a Michael Jackson Thriller-style fashion.
Daffodils saw Florence interact with the crowd – embracing a woman pressed to the front of the barrier sporting a bright yellow flower crown.
It’s clear to see how much their music means to so many, and being at a Florence gig you feel as though you’re really part of something special.
A highlight came half way through the two-hour spectacle, as Florence dedicated Never Let Me Go to her sister in the crowd who she stated was “clever enough to marry a man from Manchester”.
Image: The Manc
We couldn’t agree more Florence.
Spectrum (Say My Name) really ignited a fire in the crowd, the entire arena was up and moving to the iconic track.
Her most vulnerable moment of the night comes as she returns for the encore, when she sings You Can Have It All which is written about her near-fatal ectopic pregnancy she experienced in 2013.
It’s raw and haunting, and we feel every note as she summons the strength to perform a song so revealing.
Of course, as the first two notes of Dog Days Are Over the crowd erupts into chaos.
Florence asks us to put our phones down, “you won’t get a good video and if you’re holding your phone, you can’t move” she states, and so we did what we were told.
It’s proof of the power that Florence holds over her audience, and from then on we were left to dance with complete abandon as the show ended in a feeling of pure joy and euphoria.
Emily Sergeant -
27th July 2023 
