Lily Allen, shameless pop ironist and self-satirist, has never shied from public vitriol—a quality that has come in handy as fans have reacted to her live shows behind West End Girl. Some lamented the format—essentially a full-length rendition of the LP, nothing more; venues were downsized as excitement (and prurient interest in the album’s salacious subject matter) began to dull. But like any good pop trickster, Allen has turned a potential PR crisis into an opportunity for mischief: in this case, blue-dot fever (the term du jour for a Ticketmaster seat plan full of unsold tickets) made manifest in a spotty blue onesie and jacket.

The initial UK tour behind the album, dubbed Lily Allen Performs West End Girl, was intended for smaller venues and theaters, hinting that fans should expect few bells and whistles. But early demand enticed her to scale up: theaters turned into arenas, and dates around the world, including in the United States, ballooned the itinerary.

When the run got under way, however, Allen was forced to address criticism of the format. “It’s my artistic choice not to talk to the audience, the fourth wall helps with the storytelling,” she wrote on X. “Most people find it to be effective.” She added, “I don’t want anyone to feel ripped off, Everyone on this tour is really working very hard to give people the best show we possibly can, and I’m extremely proud of it.”

Two weeks later, Allen downscaled the North American itinerary, swapping several big arenas for small arenas and small arenas for amphitheaters. A planned Montreal date got the ax, though a Seattle show was added. Now, she is ready to smile about it. “Never beating the allegations,” she wrote on Instagram. “#bluedotfever.”