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Nonostante la pausa discografica di ben cinque anni, è innegabile come Lily Allen abbia l’innata capacità di far parlare di sé, nel bene o nel male. Una vita privata costellata di gossip, faide con le colleghe dello showbiz – famosa la guerra a colpi di tweet con Azealia Banks – classici eccessi da pop star tra alcool e droga, e, purtroppo, anche episodi molto delicati, come il secondo aborto spontaneo con successiva rehab per depressione. Scampato il ritiro dalla musica annunciato precedentemente, dopo l’uscita nel 2009 del sophomore It’s Not Me, It’s You, la Allen torna con il terzo album Sheezus.

Il titolo, come facilmente intuibile, è un tributo all’acclamato e discusso album di Kanye West. Il disco è un attacco alla scena contemporanea mainstream, a quel circolo comandato dalle etichette discografiche di cui la stessa Lily è vittima/carnefice: basta rileggere i tweet dello scorso mese in cui Mrs. Smile risponde ad un fan che la accusa di fare musica spazzatura: “Faccio quello che posso, le label e le stazioni radio non suonano prodotti di qualità”. Alla faccia della sincerità. E proprio su queste coordinate si orienta un disco dalla chiara forma “ascolto facile”. All’interno delle dodici tracce troppe volte ci troviamo davanti a pezzi eccessivamente ruffiani, come l’infantile Air Ballon con un ritornello al limite del sopportabile, o un Our Time che potrebbe tranquillamente rientrare nel frasario standard di Katy Perry. La necessità di tenersi al passo con in tempi traspare nell’auto-tune di Hard Out Here, con facili rimandi EDM a stelle e strisce che non alzano certamente l’asticella.

C’è però un lato che riesce sempre e comunque a tenere la Allen a galla, ed è la qualità dei testi (nell’ambiente pop, taglienti come pochi): URL Badman è un irriverente sberleffo agli hater da tastiera “Real talk, I put the world to rights, and when I’m a big boy I’m going to write for Vice”, che purtroppo non si lascia scappare il tocco brostep un po’ fuori posto; Silver Spoon è invece rivolta a chi le rinfaccia una vita adolescenziale troppo agiata, contro cui la Nostra si scaglia con un tocco ironico ma non troppo: “Sucked dick, got signed to a major, I’ll do anything just to entertain yer”. La title track è, invece, uno dei dissing più espliciti degli ultimi tempi, dove Lily non salva dalla scure praticamente nessuno: Lorde, Beyoncè, Rihanna, Katy Perry e Lady Gaga.

Eppure la Allen dà il meglio di sé quando smette di prendersi sul serio, con tracce più genuine e spontanee: ne è prova la divertente As Long As I Got You, coinvolgente nel suo ritmo country-esotico, o Life For Me, che ricorda quell’affascinante ragazza londinese con la faccia d’angelo di Smile e LDN, mentre l’ovattato r’n’b da luce soffusa di Close Your Eyes resta l’episodio più convincente.

Un disco con troppe lacune e pochi sussulti prova che Lily Allen ha voluto consapevolmente giocare dentro lo stesso sistema di regole delle colleghe, ritagliandosi un ruolo di arguta e spigliata ragazza “della porta accanto” senza riuscire a convincere noi e forse neppure se stessa. Del resto le sue parole sono chiare: “voglio semplicemente che il disco venda abbastanza da permettermi di farne un altro”.