Lily Allen’s first album in seven years, West End Girl, was released today, and boy, is it jaw-dropping.
If you need to catch up, the album comes after Lily’s split from Stranger Things actor David Harbour, whom she married in 2020. Speculation started to mount that all wasn’t well in their marriage towards the end of last year, and the breakup was eventually confirmed in February.
Speaking to Perfect magazine, she shared: “It was hard to make this record. It was incredibly manic, and it was emotionally traumatic. But nothing felt forced. It just sort of fell out of me. And I think that’s what happens when you’re writing from a place of truth, and without an agenda.”
However, Lily has also said that the songs on the album aren’t necessarily “gospel” when it comes to what happened between her and David, telling British Vogue: “There are things that are on the record that I experienced within my marriage, but that’s not to say that it’s all gospel. It is inspired by what went on in the relationship.”
Right off the bat, it needs to be said that West End Girl’s tracklist appears to follow a pretty linear story structure, with each song seemingly following on from the next to really paint a well-rounded picture. The album’s title track is the opener on the record, and briefly alludes to the whirlwind start of Lily’s marriage.
Things take a turn when Lily receives the news that she has booked the lead role in a play back in London, which could well be a reference to her performance in 2:22 — A Ghost Story in the summer of 2021. “That’s when your demeanor started to change,” Lily recalls. “I thought that was quite strange / I found that strange.”
The song ends with Lily “alone in a hotel room,” before sharing her side of a phone conversation where the other person appears to be asking for an open relationship. “Hiii, how are you? I miss you!” she enthusiastically begins, but her manner quickly changes, and her voice noticeably becomes sadder and sadder until she appears to be on the verge of tears.
And “Ruminating” confirms that Lily is now enduring sleepless nights in London hotel rooms as she thinks about her partner having sex with another woman. “I can’t shake the image of her naked / On top of you, and I’m disassociated,” she sings. “Did you kiss her on the lips and look into her eyes? Now that it’s done / Baby, won’t you tell me that I’m still your number one? / ‘Cause you’re my number one.”
She goes on to recall a conversation where she told her partner that the situation is “too brutal,” and he apparently insisted that he felt the same way. But immediately after saying this, he asked her: “If it has to happen, baby, do you want to know?”
Lily further reflects on her reluctance to open her marriage in “Nonmonogamummy,” which kicks off with the line: “I don’t wanna fuck with anyone else / I know that’s all you wanna do / I’m so committed that I’d lose myself / ‘Cause I don’t wanna lose you.”
And in “Dallas Major,” the star appears to recall taking on a new identity on dating apps as she tried to embrace her partner’s desire for an open marriage, telling prospective suitors: “You know I used to be quite famous / That was way back in the day / Yes, I’m here for validation / And I probably should explain / How my marriage has been opened / Since my husband went astray.”
Then, in “Sleepwalking,” Lily references the Madonna-whore complex as she reflects on her partner making her his “Madonna” after they opened up their relationship. She also remembers him previously expressing his dissatisfaction with their sex life prior to this point, asking her: “Why aren’t we fucking, baby?”
But things really take a turn in the following two tracks, “Tennis” and “Madeline,” with the latter seemingly laying out the rules that Lily and her partner had put into play following his request to have sex with other women. She notes: “We had an arrangement / Be discreet and don’t be blatant / There had to be payment / It had to be with strangers.”
And in “Tennis,” Lily shares her anguish at discovering that her partner had seemingly developed an emotional connection with another woman in addition to having sex with her. The song starts with the star being excited about her partner being home “for the first time in weeks,” and going out of his way to make his favorite dinner, “but he didn’t seem to care.”
Throughout “Tennis,” Lily also repeatedly asks: “Who the fuck is Madeline?” with the question answered in the next song, where she lists off all of the questions she messaged to the other woman.
“I can’t trust anything that comes out of your mouth / I’m not convinced that he didn’t fuck you in our house,” Lily responds, later sharing her own insecurity that she has “gotten old, gotten ugly.”
But arguably the most shocking song on the album is “Pussy Palace,” where Lily discovers that her partner is using their apartment in the West Village as his “pussy palace,” detailing all of the jaw-dropping things that she found when she went to drop off his essentials after kicking him out of the house.
“I found a shoebox full of handwritten letters / From brokenhearted women wishing you could have been better / Sheets pulled off the bed / Strewn all on the floor / Long black hair probably from the night before,” she goes on. “Duane Reade bag with the handles tied / Sex toys, butt plugs, lube inside / Hundreds of Trojans, you’re so fucking broken / How’d I get caught up in your double life?”
Lily goes on to speculate that her partner was actually having an affair with somebody famous in “4Chan Stan” after being left suspicious of him refusing to tell her the other woman’s name. In this song, she also says that she found a receipt from Bergdorf’s — where she’d never been — in his bedside drawer, and saw that he’d bought somebody else an expensive handbag in May 2024, when she was out of town.
“I think you’re sinking / You’re protecting a lie / We don’t want her thinking / That you cheat on your wife,” she sings. “You’re such a coward / You can’t tell the truth / You love all the power / But you’re not even cute.”
In addition to her partner being involved with somebody famous, Lily also speculates that he may have gotten somebody pregnant behind her back on another track on the album. In “Just Enough,” she asks: “Why are we here talking about vasectomies? / Did you get someone pregnant? / Someone who isn’t me? / Did you take her to the clinic? / Did you hold her hand? / Is she having your baby?”
And as all of Lily’s heartache is unfolding, the star shares her utter disbelief and disappointment at her partner’s total lack of empathy, with his indifference to her pain leaving her feeling “ashamed” and “embarrassed,” adding: “My friends all tell me you are deranged.”
“I’m expected to be nice / Picking up the pieces / What is it you sacrifice? / I’m protecting you from your secrets,” she then references her two children from her first marriage as she notes: “Don’t tell the children, the truth would be brutal / Your reputation’s unstained.”
Seemingly reclaiming her power, Lily then sings: “I will not absorb your shame / It was you who put me through this / I could tell myself you’ll change / Do it all again, be deluded / Never get your sympathy / I don’t think you’re able / But I can walk out with my dignity / If I lay my truth on the table.”
The track opens with Lily analyzing her ex and how he struggled to adjust to “all the fame and money” in his life, adding: “Playing with his toys / He just wants attention / He can’t really do attachment / Scared he’s gonna be abandoned.”
“It’s not me / It’s you,” she repeats. “And there was nothing I could do.”
What do you make of Lily’s new album? Let me know in the comments below!
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