I’m back in R&D in daytime, just for a couple of days, examining a good script with a lovely bunch. Happy times, doing the thing with the people. It’s what I set out to do after all. Practicality has been known to interfere but the intention and drive have been consistent and unwavering. And I’m happy in that room, and adding value and occasionally sad that positioning and sheer dumb luck haven’t allowed so many more of these rooms over the decades. But here we are.
“Who the fuck is Madeline?” This was spoken in reference to one of the lines in the play we are examining. It caused Rachel who plays my wife to tell us all: “You have to listen to Lily Allen’s new album. It’s only about 45 minutes. You can listen on the way home.”
Well, I’ve been listening to great albums as often as possible. Van Morrison at the moment as I got stuck there a bit repeating Astral Weeks. So after work I drove to The Globe for work and listened to West End Girl.
Rachel gave us some context that drew me in. It’s a breakup album. She is pulling no punches. And it is a remarkable piece of art where she shares her truth and bleeds it with beauty, but absolutely says what she needs to say.
She’s from an acting family. Her mum produces films, her dad works across the industry. Her brother has played some very unfortunate men – the man who killed John Wick’s dog, and Theon Grayjoy for starters. She’s always had a clear voice and it seems clearer than ever right now. She takes us through the collapse of her latest marriage and its fallout, in a manner that is exposed and exposing, tender and abrasive. And she finds catharsis at the end. I see why Rachel encouraged us to go to it. Sure, it’s a cultural touchpoint right now, but it has enough to be a step into a deeper musical reputation for a woman who has always been a strong wordsmith and a force to be reckoned with. She pushed herself into the conversation with MySpace, which caused people to underestimate her – perhaps as she was essentially an early influencer and we all know how empty most people with that label are. She’s not fucking around though and clearly you shouldn’t fuck with her. (Or you should if you’re married to her.) And she’s smart and musical. Good actress too I’m told. Didn’t see her West End debut but I had friends involved in Ghost Stories and word gets around.
It’s catchy as well. I’ve got to be careful not to sing the words “pussy palace” in falsetto right now. She’s made a really good album.
She was at Glastonbury forever ago and she absolutely carried a set on a big stage with sheer fucking energy. Woke us all up from our comedown bouncing around in a dress with all her early hits.
I went and did a load of Shakespeare and then it came on in my car as I drove home and I listened to the first half again. They often say that pain helps with art. Wouldn’t it be nice if it didn’t. But hey, it does so let’s all show our bits as best we can.
God love Lily Allen for sharing that stuff so raw. Fictionalised a little bit, sure. I suspect Madeline isn’t called Madeline and her voice notes are acted. I wonder what her ex makes of it. He doesn’t come over as a monster, just… lost in it all. I don’t like him any less, I don’t think that’s the intention here. This is art and truth through music, and catharsis and we are all desperately human and fighting through our own crap about sex and love and pain and life, every fucking day.
She’s been bold to do it. I wonder if there’s collateral for her legally as it is remarkably intimate. I hope not, as art like this is good for the world. And it doesn’t feel like she’s lying or exaggerating. More power to her, I say.

