On Friday night, Lily Allen finally brought “West End Girl” to the West End.
In a full-circle moment for the London-born singer-songwriter, the tour for her latest album — which, in case you were living under a rock, created lots of buzz for its no-holds-barred songwriting purportedly about her divorce from “Stranger Things” star David Harbour — found her back in the place that marked the beginning of the end of her relationship.
As Allen claims on the album’s opening song and title track, when she booked the lead role in the play “2:22: A Ghost Story” on the West End in 2021 and moved from New York City to London, talks of an open marriage began and things spiraled from there into a web of deception, jealousy and unhappiness. But at the London Palladium on Friday — the first of three sold-out shows there as part of her first tour in seven years — Allen got to reclaim the theater district and turn it into a sanctuary for collective catharsis.
Upon entering the venue, it was clear that this wasn’t going to be an ordinary concert. The setting, a historic seated theater, added to the excitement that attendees — mostly the girls and gays — were going to be treated to something special. As gaggles of women queued at the bar to make sure they had enough Pinot Grigio (with ice, please), orchestral music wafted from inside the theater. Instead of having another artist open the concert, Allen enlisted three cellists — all brunette with bangs, strangely mirroring the singer — to play instrumental versions of some of her biggest hits like “LDN,” “It’s Not Fair,” “Smile” and “Fuck You.” Though some fans have expressed disappointment online that Allen isn’t including these songs in her setlist, that sentiment wasn’t present in the room — as lyrics flashed on a screen behind the cellists, the Palladium turned into a giggly, nostalgic sing-a-long that left the audience warmed up and ready to focus on “West End Girl.”
Despite the raucous spirit that was established during the opening karaoke session, one could hear a pin drop as it became clear that Allen was about to come on stage. As the set became illuminated — consisting of pink-carpeted steps and teal curtains below a neon “West End Girl” sign — vanity-style lights flashed at a faster and faster rate before Allen appeared, looking like a Barbie in a pink, Chanel-style tweed skirt suit and matching heels. The silence was now over. Allen dove straight into “West End Girl,” the first bit of which was lost due to fans’ screams. It then became apparent that this show would be just as cathartic for the crowd as it was for Allen — as she picked up a cherry-red phone to perform the part of the song where an open relationship is first broached, the audience erupted into a chorus of boos and “Fuck him!” There were several moments like this throughout the show, as viewers took the opportunity to channel their own inner rage at people who have wronged them into Allen’s songwriting.
Henry Redcliffe
Through “Ruminating,” the album’s bouncy second track, Allen peeled back the curtains to reveal a makeshift London flat: there was a red chaise lounge, a flouncy teal-and-pink bed, pink Smeg fridge and the skyline in the background. Just as the album’s title implies, its live counterpart was full of theatrics. There were several outfit changes (during “Sleepwalking,” Allen slipped off the skirt set to reveal a nude slip, sheer enough to spot her purple underwear), some prop magic (“Relapse” saw legs come out from the fridge) and even a little acting (during “Madeline,” Allen appeared to be sniffling to insinuate tears). Singing the album straight through, there was no question that Allen sounded great — almost effortless — but the storytelling took precedence over the music, with a backing track playing as opposed to live musicians.
The show’s climax undoubtedly came at the start of the album’s second half with the ever-catchy “Pussy Palace.” After a quick set change, during which Allen’s colorful bed was stripped to a plain, white-sheeted one, she reappeared in a black lacy top and red hot pants. As Allen sang about infidelity — “I didn’t know it was your pussy palace/ I always thought it was a dojo/ So am I looking at a sex addict?” — she playfully pulled items out of the bed: a pink bra, various sex toys. Reaching under the bed, Allen then brought to life the song’s most iconic lyrics: “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?” Timing each prop to the corresponding words, viewers leapt to their feet to try and get a better glimpse — and stayed there, reveling in the song’s chorus.
The momentum continued with “4chan Stan,” during which Allen wrapped herself in a long, white piece of fabric, allegedly containing receipts of items her ex bought for other women as well as screenshots of text messages. Another piece of fabric that looked to contain a handwritten message — perhaps a letter? — was then wrapped around her head, nearly suffocating herself with her partner’s alleged lies. It was both a powerful statement and petty takedown, delivering the right amount of drama while also preventing the audience from knowing exactly what was written.
The audience stayed on its feet for the last third of the show, as “Nonmonagamummy” started a dance party and “Dallas Major” got even those in boxes chanting along. Changing into her last look — a floor-length black leather dress — Allen delivered “Beg for Me,” “Let You W/In” and “Fruityloop” in dramatic fashion as the other set pieces were removed to reveal a room full of lamps. While the outro for “Fruityloop” played, she sauntered across the stage, glancing over her shoulder one last time before exiting. “Yaaaa Lily!!!” a voice called out, interrupting the moment.
Henry Redcliffe
Though it may not have been what some fans expected from an Allen comeback concert, as she emerged once again to receive a standing ovation and bouquet of flowers, the overwhelming mood was one of celebration. Despite this being her first tour in nearly a decade, it was obvious that Allen was home — on a stage, on the West End.
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