Lily Allen released West End Girl last Friday, sending the internet into a frenzy.
The album follows the fallout of an open relationship. The Guardian’s head rock and pop critic Alexis Petridis dubbed it a “gobsmacking autopsy of marital betrayal”.
Allen has called the album autofictional, and a number of tracks have attracted the keen eyes of internet sleuths. Many a listener is asking, who is Madeline?
But when does analysing music for more details of a person’s life go too far?
Rafqa Touma talks to deputy culture editor Sian Cain about why pop needs its mysteries.
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