Lily Allen has made a striking return to music with her latest album, “West End Girl,” marking her first release in seven years. More than any recently released divorce album, it cuts deep and makes a vulnerable case for understanding concepts such as marital betrayal through the lens of open relationships. Allen’s narrative illustrates both the emotional rage unleashed when boundaries are disrespected. This instability is particularly acute when one side of the pair appears to gain more advantages than the other.
In “West End Girl,” Allen’s character wrestles with feelings of jealousy and insecurity in an open marriage. The album’s storyline unfolds dramatically when the protagonist visits an apartment, believing her husband is practicing martial arts, only to discover a shocking array of items: “sex toys, butt plugs, lube” and “a shoebox full of handwritten letters from brokenhearted women.” These surprises highlight some of the album’s larger commentary on open relationships, which can be deceptively co-opted—mostly by men.
Allen’s exploration of the life music can provide went much broader during her absence. In addition to her music career, she’s acted, dabbled in the podcasting scene, and created her own line of sex toys. She’s connected with an audience beyond her wildest dreams on OnlyFans, selling photos of her feet to fetishists. It’s this diverse portfolio that tells the story of Luoluo’s multifaceted interests and her resilience as an artist.
The record’s narrative centers around making an open marriage work with defined rules. Unfortunately, those rules are quickly dismissed by her significant other. Allen candidly shared her insights with British Vogue, stating that “the album references things Lily Allen experienced within her marriage, but that’s not to say that it’s all gospel.” This line cuts to the heart of what makes the album so compelling—the way personal experience and artistic intent come together.
Musically, “West End Girl” is about as eclectic as they come, but that all help to point towards Allen’s further evolution as an artist. The sprawling LP features everything from orchestrated Latin pop and R&B to electronics and dancehall-influenced guest vocals. One particularly raucous track, “Pussy Palace,” unapologetically makes butt plugs a chorus-worthy topic. Or take the entrancing song “Madeline,” which explores the emotional fallout of an open marriage setup.
The album artwork for “West End Girl” Imagery and symbolism are the narratives Allen has been able to craft and create through her music. Now 40 years out from her debut, she’s still an artist who resonates with audiences of all ages. Her influence is particularly evident in contemporary artists like Olivia Rodrigo, who brought Allen on stage at Glastonbury in 2022. Although it was their first time performing together, their collaboration proved the profound influence Allen’s songwriting has had on Rodrigo’s own breakup anthems.
There is a palpable connection between Allen’s unapologetic and raw approach in songs like “Smile” and Rodrigo’s similarly forthright style. Both artists tackle the often messy realities of relationships with emotional honesty. Allen’s lyrics resonate powerfully: “It is what it is – you’re a mess, I’m a bitch … all your shit’s yours to fix.”