'It's Not Me, It's You'

If there’s a theory that can be substantiated properly from musicians highly publicised as being “troubled”, then it’s to stay productive musically and give people something real to talk about. Amy Winehouse is a case in point- with no new material after nearly three years, media outlets once in her praises have done nothing but focus on her every move, from blonde hair to visits to the corner store. Courtney Love, another highly-publicised trainwreck, has been better known in the last few years for drunken rants on her blog and losing/regaining custody of Frances Bean than her music (still no word on her sophomore solo album). And, of course, today’s central focus: miss Lily Allen.

In the past three years since the release of her debut album Alright, Still, the daughter of Keith and the sister of the infamous Alfie has made several transitions in terms of her public image (she's been called a drunken festival nightmare, controversy queen, purported alcoholic, purported druggie, bitchy blogger, public enemy #1, pink-haired party-goer etc.)

So, imagine the relief for fans and tabloids alike as Allen’s sophomore emerges in 2009. Titled It’s Not Me, It’s You, it is bold, spacious, chameleon-like pop music with a distinct, scornful twist that adds a little sourness to the sugar and spice- an almost idiosyncratic contrast which, once again, works well; but this time, it’s with flying colours.

Back in 2006, Brit import Lily Allen seemed like the perfect antidote to America's vacuous top 40 sausage factory. But as another pop rebel, Cyndi Lauper, once wisely said, money changes everything.

Behind her new album's, It's Not Me, It'sYou's deceptively breezy melodies, Allen often sounds chastened, introspective, even sad — her subjects now include the dark side of drug use (''Everyone's at It''), fractured family relationships (''Back to the Start''), and vanishing youth (''22'').

A highlight comes in the form of “Who’d Have Known”, presenting an honest intimacy in both lyric and music; the likes of which Lily has never before seen. Her character is a confused lover, left wanting more from a close friend with which a lot of time is spent. There is a certainty that there is an attraction between the two- “Today, you accidentally called me ‘baby’”, sings Allen with a sense of lovelorn awkwardness- but neither know properly just how to move it forward.

It’s Not Me, It’s You is a feverishly catchy and bona fide favourite. And so, despite public lashings and continued tabloid exposure, Britain’s mouthy pop idol returns triumphantly and with the brawny guts to stick with what she knows best.

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