Lily Allen - West End Girl Album review
- Natasha Judge
- Oct 25, 2025
- 4 min read
Lily Allen is back with pivotal storytelling songwriting in her surprise album drop ‘West End Girl’.
The album is one that needs to first be listened to in order, it takes you on a storytelling turmoil of heartbreak and realisation. The 14-track album ultimately illustrates her strength in persevering and keeping going, even in the deeply difficult times.
After seven years away from music, she remarkably created this album in a mere ten days. Given the classic Allen wit we are used to from previous album releases - ‘Alright, Still’ (2006), and ‘It’s Not Me, It’s You’ (2008), and ‘No Shame’ (2018), it’s to no surprise this album truly delivered, and was worth the wait.
Opening title track sets the scene for the musical journey, it begins optimistic, cheerful, and hopeful of rerouting, and follows her move to New York. It then changes, as she discusses her return to London to appear in play ‘2:22 A Ghost Story’, and depicts a phone call seemingly based on the start of the turmoil to follow.
‘Ruminating’ explores themes of disassociation and overthinking, a repetition of “you’re mine” is used as a motif throughout. Images of a cheating partner fill her mind , as she pleads for them to wait for her.
The brutal lyricism highlights the insensitive statements which were seemingly said to her, from someone she had committed to build a life with.
She writes: “If it has to happen baby, do you want to know?”
The album is riddled with pop - despite the juxtaposing themes, and this dance track echoes this through breaking beats towards the later half of the song, which replicate the uneasy feelings she internally endured.
Lullaby-like track ‘Sleepwalking’ echoes her use of simple but powerfully memorable choruses, which are paired with her solo talking at the end.
‘Tennis’ is a classic Allen, the song highlights deceit and gaslighting from a partner, and follows her absorbing information on an unfaithful partner. This track in particular was startling for many, especially when she first exclaims “Who’s Madeline?” - which was a superb segue for the following track ‘Madeline’.
‘Madeline’ feels like a showdown personified. The use of castanets, paired with gun shots makes it an exceptional revenge track, and a definite stand out from this surprise album release. It again uses voice-notes seemingly replicated from the other woman, and at length shows the growing trust issues at not knowing who, if any, of those involved to believe.
She sings: “I don’t trust anything that comes out of your mouth.”
Although Allen did address that some lyrics aren’t quite the full truth, as lines crossed in the processing of the breakdown of her marriage, this song reveals she knew the woman involved. Also, it even alludes to the audacity of receiving voice notes with which closed with the line “love and light”.
'Relapse' is a touching recollection of Allen’s emotional fallout, and reaching the point of considering relapsing - whilst trying to hold it all together, and navigating parenthood during the relationship fallout. This track has great production of layered vocals, representing the old habits clawing to return, and her processing what would occur should she have had a drink.
Arguably, the most shocking track from the album is ‘Pussy Palace’ which has left many gasping at the revelations of her partner's secret double life. Overall the song is extremely catchy, and an excellent comeback for both Lily musically, and for the personal experience she has endured these past years.
“How did I get caught up in your double life? And that’s when I realised something don’t feel right.”
‘4ChanStan’ is another great slap back at the infidelity rumours she was piecing together, and her seeing the cowardice for what it was. Again, this tune feels authentic Allen, with its almost nursery rhyme rhythm, and witty lyricism.
‘Nonmonogamummy’ is an instant hit, accompanied by Specialist Moss, the street sound song highlights her heartbreak at trying an open relationship for the sake of her marriage.
‘Dallas Major’ is a track infused with groove, which again juxtaposes the language of the song as she expresses hating her situation, wanting validation, and fearing failure.
The album ends with stripped back tracks ‘Just Enough’ and ‘Let you W/In‘ which delicately voice her raw reaction, as she expresses her sadness, and gaining back her dignity whilst sat with her feelings.
Final track ‘Fruityloop’ evokes feelings of pride for her overcoming the situation, and also works as a clever call-back as she uses the line “It’s not me it’s you” - which is a nod to her previous album.
She uses the album as an opportunity to tell the narrative, and she does so beautifully brutally through her knack for storytelling lyricism.
It is hoped that West End Girl solidifies Lily Allen’s musical impact, and should confidently encourage even more music to follow.
For further album information and to listen, visit here.
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