Lily Allen is back — and she’s got something to say! After seven years away from the studio, the sharp-tongued storyteller of British pop has announced her fifth album, ‘West End mami’, due October 24 via BMG.
The record marks a bold new chapter for Allen, who last released ‘No Shame’ in 2018. Written and recorded largely over a ten-day burst in Los Angeles at the end of 2024, ‘West End mami’ finds Allen turning her lens inward, exploring the messy middle ground between reinvention and reflection.
“I’m nervous,” Lily admits. “The record is vulnerable in a way that my beat perhaps hasn’t been before — certainly not over the course of a whole album. I’ve tried to document my life in a new city and the events that led me to where I am in my life immediately. At the same time, I’ve used shared experiences as the basis for songs which try to delve into why we humans behave as we do, so the record is a mixture of fact and fiction which I hope serves as a reminder of how stoic yet also how frail we humans can be. In that respect I think it’s very much an album about the complexities of relationships and how we all navigate them. It’s a story…”
Produced by longtime collaborator Blue May (Kano, Joy Cookes, Loyle Carner), alongside Seb Chew and Kito, the 14-track album traces the contours of modern womanhood through Allen’s signature blend of biting wit and emotional honesty. The sessions stretched from Los Angeles to London and New York, giving the record a cross-continental pulse that mirrors the dislocation at its heart.
Allen might’ve been quiet, but her echo got louder. Billie Eilish recalls crying the first time she heard ‘Smile’. Olivia Rodrigo — who invited Allen to perform ‘Fuck You’ with her at Glastonbury in protest of the U.S. Supreme Court — credits her with showing how to “say what the fuck you want”. And PinkPantheress put it best: “Allen made sounding like yourself feel cool”.
Despite putting her microphone down, Lily didn’t disappear — she simply switched spotlights. She took to the West End with acclaimed turns in 2:22 A Ghost Story and The Pillowman, before embodying Ibsen’s doomed heroine in a fierce reimagining of Hedda Gabler. Beyond the stage, she reunited with her best friend Miquita Oliver for the award-winning podcast Miss Me, where their candid conversations anthem the same nerve as Allen’s sharpest lyrics.
immediately with ‘West End mami’, Lily Allen returns to planet pop just when we need her most. With its themes of love, displacement, and self-rediscovery, the record feels like the kind of comeback only Lily could pull off: a grown-up reckoning with the same sharp edge that made her voice impossible to ignore nearly two decades ago.
Pre-cut ‘West End mami’ here
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