Holly Bagnall

The singer’s latest tour showcases her new material in full, but leaves some fans wanting more from the stage.

I have been a fan of Lily Allen long before I should have been. As a nine-year-old with an iPod Nano (remember those?), I was confused listening to the lyrics of Not Fair, thinking it was surely a marker of a good partner if they never make you scream.

Nonetheless, I always enjoyed her music, and I was pleasantly surprised to see her newest album, West End Girl, drop on Spotify on a random day back in October.

Naturally, I jumped at the chance to see the album live, attending her show at Sheffield City Hall last Saturday (7 March).

The concert opened with a trio of strings who wonderfully interpreted some of Lily’s classics, including Smile, Fuck You, 22 and Not Fair, with lyrics displayed on screen so the audience could sing along. It was peak feminism to be belting out Hard Out Here in what felt like a mass karaoke moment.

However, this rather ‘DIY’ opener set an unusual tone for the main performance. Not only did it shift much of the work onto the audience, it also suggested a certain distance between Lily’s current work and her earlier hits. Whether intended as a way to warm up the crowd or to emphasise her artistic evolution, the audience were suitably energised for her eventual appearance.

A harsh critic might say the stage design resembled a minimalist IKEA showroom – a kind critic might note it could not have been IKEA, as nothing fell apart during the performance.

Allen entered following a trippy light display to the opening bars of West End Girl, before quickly working her way through the entire 14-track album. There was little time to breathe, aside from brief set and costume changes. She alternated between walking, sitting and lying down, with her only notable burst of movement coming in a TikTok-style dance for Monogamummy.

The most striking aspect of the show was Allen’s apparent nervousness. This is perhaps understandable, as reports suggest she has not performed on stage sober for many years. While her vocal ability remains clear, the backing track often felt less supportive and more overpowering.

With no backing dancers or elaborate staging, the focus remained entirely on her. Yet the performance felt deeply introspective, with little to no interaction with the audience – not even a simple greeting. In many ways, the show seemed to function as a form of public therapy, following her tumultuous divorce from David Harbour.

That sense of personal exposure extended into the crowd, where the modern phenomenon of parasocial relationships was on full display, with some audience members heckling and booing references to Harbour within the songs.

While I certainly enjoyed the evening, I found myself agreeing with others leaving Sheffield City Hall – many felt the show lacked something. For a tour titled West End Girl, it was surprisingly sparse in its theatrical ambition. With the stage entirely her own, Allen often seemed reluctant to fully command it.

For an album so rich in personal emotion, a more confident and expansive performance might better carry its weight. Perhaps, with time and experience, Allen will grow into that space.

Fans can still catch Lily Allen on 18 March at the Utilita Arena in Cardiff, if they are lucky enough to find resale tickets. She is also set to perform on 24 June – though securing a good seat may require parting with a significant sum.

But the price of concert tickets is another conversation entirely.