A Biblical Prophetic Voice in Song
Through this summer I have listened to the new CD by Sinead O’Conner titled Theology many dozens of times–every chance I get. It is the most amazing collection of songs, put together with a skill, a unity of vision, and a power that one seldom encounters. I have not been moved so deeply on a spiritual level by a CD since Ten New Songs by Leonard Cohen (2005), whom I consider to be the high priest of a prophetic musical genre of this type. The power of O’Conner’s work is based on the raw power of her soul, as with all her work, but shaped, often word-for-word, by the words of the Hebrew Bible–namely Jeremiah, Isaiah, Job, and several of the Psalms, cast at times with a Jamaican flavor (Yah for Yahweh, etc.). For me at least the effect was to leave me speechless, sort of “slain in the spirit,” I think the term is, and I have no “charismatic” background or experience.
Cohen is Jewish, so one might expect to find biblical/Jewish themes in his words and music. But Sinead is an Irish Roman Catholic in background, so one has to wonder how she has come to her spiritual vision of things as expressed in this album. O’Conner clearly senses that the message of the original Jesus movement (John the Baptizer, Jesus, and James the Just) is that the group was powerfully shaped 
by the visionary perspective of the Hebrew Prophets (particularly Isaiah and Jeremiah) and certain of the Psalms. That vision centered on the notion of the Kingdom of God, with the will of God being realized on earth as in heaven, through a new world characterized by peace, justice, and righteousness. In my book, The Jesus Dynasty, I try to bring to the public a perspective that many scholars share–namely that there is a vast difference between the message Jesus preached and “Jesus as the message,” as touted by later “orthodox” Christians shaped by the visions of Paul, which wholly removed itself from a Jewish or Hebrew vision of things. Sinead seems to have tapped into that in an extraordinary way, but without any reference whatsoever to the “person” of Jesus per se, or anything one could recognizably call distinctively “Christian,” in the later dogmatic sense of the term. I noticed that Christianity Today eagerly latched onto Sinead for an interview when the album came out, but I sensed in reading it that the content must have been quite disappointing to those who might have hoped for something more along Christian evangelical lines. Sinead clearly values her Catholic upbringing on a cultural level, and she “loves Jesus,” as a “spiritual energy,” but she is sharply critical of orthodox Christianity and clearly rejects any kind of exclusive views of Jesus. If anything her view of “religion” and “faith” is shaped almost exclusively by the Hebrew Bible.
There are two discs with eleven songs each, with mostly the same songs recorded in different settings. The first, “The Dublin Sessions” is more acoustic and simple; the second, “The London Sessions,” has a full instrumental arrangement. I much prefer the former for its vocal intimacy and expression. Each disc ends with an interview with Sinead where she talks freely about how she came to do this particular album and what it means to her. You can listen to samples at Amazon.com.
James D. Tabor