After seven years away from Australian and New Zealand stages, Lily Allen is coming back bigger, bolder and unapologetically on her own terms. Today, Allen announces her largest-ever headline tour across Australia and New Zealand, bringing Lily Allen Performs West End Girl to arena stages in October and November 2026, a run that doubles as both victory lap and artistic reset.
The tour centres entirely around West End Girl, Allen’s critically acclaimed fifth studio album and first in seven years, which she will perform in full, track by track, in sequence. It is a rare move for a pop artist of her scale, but one that feels perfectly aligned with a record built as a narrative arc rather than a grab-bag of singles. With more than 275 million streams already to its name, West End Girl has landed as both a commercial success and a creative high point. Its impact has been echoed locally too, with Backseat Mafia giving the album a very positive review.
Kicking off at Spark Arena in Auckland on 21 October, the tour rolls through Brisbane Entertainment Centre, Sydney’s TikTok Entertainment Centre, Melbourne’s Rod Laver Arena and closes at Perth’s RAC Arena on 1 November. Presented by Frontier Touring, the run marks Allen’s first return to the region since her 2019 No Shame tour, and the scale alone signals a renewed confidence.
That confidence is hard-won. From her Myspace-era breakthrough to redefining pop provocation on Alright, Still and It’s Not Me, It’s You, Allen has always operated slightly ahead of the cultural curve. Her willingness to be funny, furious and deeply personal reshaped what pop stardom could look like in the internet age. Stepping away from music only deepened her influence, with artists like Billie Eilish, Olivia Rodrigo and PinkPantheress citing her as proof that honesty and edge could coexist with mainstream success.
West End Girl pulls all of that history into sharper focus. Written following Allen’s move to New York, the album unfolds across 14 songs as a hybrid of fact and fiction, memory and reinvention. Working closely with Blue May, and supported by an executive production team including Kito and Seb Chew, Allen delivers what feels like her most empathetic and controlled work to date. It is direct without being defensive, reflective without retreating, and expansive in its emotional reach.
Taking that record on the road in its entirety is a statement. This is Lily Allen reclaiming space, not by chasing relevance, but by trusting the weight of her own voice. If West End Girl marked a return, this tour confirms it as something far more permanent.
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