Lily Allen review – pop star makes much-anticipated comeback – but where is the West End Girl?

By Claire Biddles•The Guardian Music

Glasgow Royal Concert HallAllen isn’t in the first act of her own show, only coming on after 45 minutes of a string ensemble to stiffly deliver her acclaimed album in fullWhen Lily Allen’s West End Girl was released in October 2025, it was an instant sensation. A raw document of marital betrayal and neglect, it was a new kind of divorce album for the post-tabloid celebrity, inspired by Allen’s own separation from actor David Harbour. It earned Allen rave reviews and a place alongside Miranda July’s All Fours in a contemporary canon of emancipatory, autofictional art for modern (heterosexual) women. The album’s structure as a narrative held rich potential for live staging, and Allen’s choice to play it in full on a tour of theatres – before returning for an arena run later this year – suggested she would make good on its theatrical promise.Split into two acts, West End Girl Live certainly begins with theatrical flair. A string ensemble – named the Dallas Minor Trio after one of the album’s standout tracks – takes to the stage for a version of Allen’s 2008 hit The Fear. The crowd enthusiastically sings along to karaoke-style lyrics on a screen behind the trio. It works as a prelude: the song’s minor key paranoia translates well to the arrangement and its themes of existential crises are relevant to the album we’re here to see. Continue reading...

Glasgow Royal Concert Hall
Allen isn’t in the first act of her own show, only coming on after 45 minutes of a string ensemble to stiffly deliver her acclaimed album in full

When Lily Allen’s West End Girl was released in October 2025, it was an instant sensation. A raw document of marital betrayal and neglect, it was a new kind of divorce album for the post-tabloid celebrity, inspired by Allen’s own separation from actor David Harbour. It earned Allen rave reviews and a place alongside Miranda July’s All Fours in a contemporary canon of emancipatory, autofictional art for modern (heterosexual) women. The album’s structure as a narrative held rich potential for live staging, and Allen’s choice to play it in full on a tour of theatres – before returning for an arena run later this year – suggested she would make good on its theatrical promise.

Split into two acts, West End Girl Live certainly begins with theatrical flair. A string ensemble – named the Dallas Minor Trio after one of the album’s standout tracks – takes to the stage for a version of Allen’s 2008 hit The Fear. The crowd enthusiastically sings along to karaoke-style lyrics on a screen behind the trio. It works as a prelude: the song’s minor key paranoia translates well to the arrangement and its themes of existential crises are relevant to the album we’re here to see.