Live-Fi :: Top (1)8: The Re-Up, Recoded – Lily Allen’s No Shame Tour, Buckhead Theatre

biorhythmic, Live, TK:ATL, Vinyl Cut Prose

[Lily Allen’s] understated introduction to the world was that Saturday morning wake-up from the flashy Friday night of .com 40 puffery. Fear not: all isn’t lost in the MySpace generation; for the ten thousand avastars, there is Lily Allen: the reason, that just so happens to rhyme with silly. So, allow she to reintroduce herself…




Wednesday night, amidst Atlanta’s metropolitan backdrop of ubiquitous development, and the internal company of a most eclectic motley crew of New South denizens, Buckhead Theatre became the stellar soundboard for Lily Allen’s latest iteration, No Shame.

The Scene: Lily’s setlist spanned eleven years of the Wordsworth of the MySpace Generation’s rhythmic discourses and dialogues by-way-of Pop lyricism; line by line, the audience retraced the footsteps and and soundtreks that led us through said decade of lucid chances… oscillating fame, and independent identity lost and found.

Top 5 of 2009: Songs/Albums


Thanks to Winstone over at The Couch Sessions I compiled my Top 5 songs/albums of 2009 (actually without Winston I wouldn’t have even considered the feat).

True Pop is self-contextualizing. My “best of” list reflects those works that built this year in pop culture, by reflecting the end of an era – of shallow celebrity veiled behind assumed artistry. Pop done right is cohesive, not fragmented, and neither are its masterpieces. Pop done right is an atmosphere – artists create their own world. Below are 2009 Pop best artists’ songs in relation to albums – not songs, or albums, and artists. My top 5 best reflect the year they dictated: 2009 – The Death of The Fame’s Fear.

“D.O.A. (Death of Autotune)”/The Blueprint 3 – Jay-Z

Hov on that new sxxt, like how come/ Want my old sxxt, buy my old album
Stuck on stupid, I gotta keep it moving/ Make the same sxxt, me I make the blueprint


“Bad Romance”/The Fame Monster – Lady GaGa

Got no direction, just got my vamp/ Take a bite of my bad girl meat, take a bite of me
Show me your teeth


“The Fear”/It’s Not Me, It’s You – Lily Allen

I don’t know much, but I know this for certain/ And that is the sun poking its head round the curtain
Now please can we leave? I’d like to go to bed now/ It’s not just the sun that is hurting my head now
I’m not trying to say that I’m smelling of roses/ But when will we tire of putting sxxt up our noses
I don’t like staying up, staying up past the sunlight/ It’s meant to be fun and it just doesn’t feel right


“Colourless Colour”/La Roux – La Roux

My reflections are protections/ They will keep me from destruction
My directions are distractions/ When you’re ready, come into the light


“Man in the Mirror”/This is It – Michael Jackson

A willow deeply scarred/ Somebody’s broken heart
And a washed-out dream/ They follow the pattern of the wind, you see
Cause they got to place to be/ That’s why I’m starting with me

It’s Not Me, It’s Dr. Rosen Rosen


Dr. Rosen Rosen took Lily Allen’s It’s Not Me, It’s You and remixed it – he turned the tables on lyrical Lily as if to say “Maybe it is me, but let’s see what would happen if it was all you.” Rosen Rosen remixed the INMIY album by going further into the sentiment behind the substance and building an entire atmosphere from the lyrical face value. Anyone who halfway knows Allen’s music knows she lives in the subtextual world of Simpson-esque milk dud reflections on modern culture — however, this is the result when INMIY dwells on the lines themselves, as opposed to in between:

Lily Allen went more electronic and less ska, a bit darker and less light, for INMIY so she could land later gigs at concerts (because seriously, it’s hard to convey the sunny side of “LDN” at midnight); Dr. Rosen Rosen took that idea and ran with it. If the original INMIY is nighttime festival gigs, then consider It’s Not Me It’s Dr. Rosen Rosen your nightcap — it’s the stuff of which dreams (or nightmares) are made.

Lily Allen went to a hypnotherapist to get trim – a bit of image rehab; Dr. Rosen Rosen used hypnotherapuetic production to flesh out INMIY – a bit of sonic revamping. INMIDRR‘s heavy chill-out focus manifests the original album’s tongue-and-cheek dichotomies into a trance-like, catatonic delve into Lily’s literal lyrical psyche. Rosen Rosen plays doctor on INMIDRR, lulling INMIY into its most basic state and in doing so adds the beat-backed depth that digs deeper into – as opposed to deflecting from – the core message.

Prime example:

Dr. Rosen Rosen takes “Fxxk You” to the battlefield; it becomes a battle march – he expands the vibe of the lyric “you say you want to go to war well you’re already in one” to the whole track. On the heels of the Bush Administration, in light of the British National Party’s recent parliamentary ascent, and in the midst of social, political, cultural, religious, and militaristic wars on terror, terra, apathy, zealousness, and everything in between, “F*ck You” – the battle cry – makes sense of change.

SPIN Magazine hit the nail on the head when they said “‘introspective’ may not be the first word that comes to mind when one thinks of Lily Allen,” but after hearing INMIDRR, introspection might be just what the doctor ordered. Lily’s appeal is her ability to wordplay the proverbial fence and hide sincere social commentary behind sarcasm – juxtaposing substantial lyrical content with stylistic bubblegum/ska/electro-pop beats. Allen excels at being socio-politically conscious while simultaneously coolly detached. However you take her music is none of her affair, it’s yours. In Dr. Rosen Rosen’s world though, it isn’t us that matters – it’s Lily. Allen’s literal and figurative voice is her greatest asset, Dr. Rosen Rosen’s merger of the two is exactly what he ordered. All he did was elaborate on the vocal harmonies and melodies that were already there – beautifully, of course. Dr. Rosen Rosen created a complete album that takes Allen’s lyrics as seriously as her beats never quite seem to. Kudos, sir.


Watch this space: Trust Rosen Rosen — he’s a doctor.

She’s got an alright job, but it’s not a career


In this economy any job is an alright job, and Lily Allen is doing a pretty much amazing job of keeping her resume alright, still. Her latest single, slated for an August release, is “22.” The Fiona Apple-esque ditty is a snapshot — rather, a requiem — of a modern teen/twenty-something girl/woman on the brink of adulthood/precipice of their social peak (if it’s that convoluted to explain, I can only imagine how daunting the day-to-day must be for those girls … oh wait I don’t have to imagine, I do live that day-to-day — I am one of those girls).

Silver lining … anyone? I can wait — seeing as my life is “already over” — sad, but true — que triste, pero que sera.

Atmospheric video with a solid concept: I approve.

Watch this space: If only because this was the first song I heard to ring in my 22nd birthday/college graduation, and misery loves company — if we happen to cross paths, feel free to sit on the dock of the bay with this 22 year old soon-to-be-spinster-cat-lady. Oh that Lily: always pushing kids to “Dream Big!”