The Kate Nash Story has been rolled out all over the media recently – how as a teenage chav, she injured her leg falling down the stairs, following which her parents bought her a guitar with which to entertain herself. She attended the Brits School (*gag*); Lily Allen added her to her top Myspace friends; Nash ‘stopped’ being a chav and started dressing indie. It’s no wonder the broadsheets have been falling over themselves for her – so street (ahem) yet easy to intellectualise; someone to whom the term “voice of today’s yoof” can be tagged. She’s a chav, yet she’s not – oh no, she left that behind along with the hoop earrings and tracksuits.

Musically, Nash does have some talent. Recent single ‘Foundations’ has an attractive melody, success played out by its position in the upper regions of the Top 40 and iTunes download chart. However, what for many listeners is part of Kate’s draw – Arctic Monkeys-/Lily Allen-style social realism lyrics and intonation – is for me her downfall. There’s something rather depressing about the way she spits out “I’d rather be wiv your friends mate as they are much fittaaaa”. Like, Ohmigosh.

Sadly, ‘Foundations’ onwards, there’s no removing the image of Catherine Tate Show character Lauren Cooper from my mind. There are a few moments when this does not spring to mind. For example, ‘Mouthwash’ has a great captivating tune and would do very well as a single I’m sure. Nash’s more unappealing linguistics are less evident here; hence I can actually enjoy this one. The lavish production (courtesy of Paul Epworth) is reminiscent of Jeremy Warmsley’s album ‘The Art of Fiction’ – warmth in the piano, bass and vocals.

So, amongst the punky piano-pop, captivating melodies and big production, is a half decent pop album. For those who are into listening to faux-chavs sing, here it is, you’ll be happy. Sadly, for those that get enough of that on the bus and like to escape when putting on headphones, only a few songs here overcome the ‘Lauren Cooper’ barrier. Laterzzz.

(3/5)