Revolution in Me is the debut studio album by British musician Siobhán Donaghy, released on 29 September 2003 by London Records.

When she quit the Sugababes, the band was dropped by London Records, who decided to retain Donaghy's contract as a solo artist.

Using the pseudonym, she issued the promotional single "Nothing but Song", and performed at small English clubs such as Dublin Castle.

"Iodine" was scheduled to be issued as the third single from the album in December, but Donaghy was dropped by London Records before it was released.

Donaghy was twelve years old when she signed a management contract with producer Ron Tom, who helped form British pop group All Saints in the mid-1990s.

Two years later, in 1998, Donaghy became a founding member of Sugababes when Tom introduced her to Mutya Buena and Keisha Buchanan.

The group signed to London Records, and their debut album One Touch was primary produced by Cameron McVey.

The song and album were critical and commercial successes, with "Overload" receiving a nomination for Brit Award for British Single of the Year.

[4] Immediately after quitting the band in Japan, Donaghy flew back home to her family in Eastcote, Middlesex.

[2] Several months after leaving the band, she traveled with her sister to Ibiza for a holiday, where she met Johnny Lipsey, who had produced several tracks on the first Sugababes album.

During this time, the Sugababes – who had replaced Donaghy with former Atomic Kitten singer Heidi Range – had a UK number one single with "Freak like Me".

Music said the record incorporates lyrical themes of "taking stock of life, controlling your destiny and searching for support.

It also features production contributions from Matt Kent, Jody Street, Neil Pearson and Silvio Pacini.

Music described it as a "mostly refined, sophisticated pop" album that features Donaghy's "undeniably powerful voice sitting centrally in the mix, never overbearing but never understated."

"[7] Drowned in Sound said the record contains "a newly acquired sense of real songcraft",[9] while RTÉ said that from its "opening moments", the album demonstrates how Donaghy "has an edge under her belt that [other musicians] could only dream about".

[8] The track contains sampled audience noise and scratching,[7] a prominent bass riff and looped piano.

[11] Drowned in Sound said the song "floats on unfinished piano lines and 'Disco Inferno'-style sampled crowd noise that becomes remarkably and inexplicably affecting.

"[12] RTÉ said the track exemplifies how Donaghy "lays out a stall with something decidedly more interesting to offer than that of her sickly sweet contemporaries.

"[11] "Man Without Friends" begins with gentle guitar lines, but gradually builds to a sing-along coda featuring the lyric "I start to unravel in my mind".

Music saying it "leaves behind the beats for close on five minutes of pure radio-friendly pop-rock with a naggingly catchy chorus".

[11] Donaghy began promoting the album with a series of concerts at small club venues, under the pseudonym Shanghai Nobody—an anagram of her name.

These shows included a performance at Dublin Castle in Camden Town, which she said "helped me deal with my stage fright", noting that as a member of the Sugababes, she "missed out all the scummy venues".

[12] In numerous interviews around the time of the album's release, Donaghy commented on the turkeys seen in the music video for "Twist of Fate".

The sad thing is, given the proper attention, this could be the album to revitalise the woeful current state of pop music.

They praised the quality of songwriting, but said the album was "difficult to categorise: it's too smart to sit alongside Girls Aloud in the commercial pop world, but it's not quite offbeat enough to be embraced by the indie masses.

"[22] Stylus praised the quality of the songwriting, performances and production, saying: "The words are hollow enough to climb inside, and the music is warm enough to keep you there once you're in, acoustic guitars, fathomless beats and skittish electronics binding songs together.

"[12] In a mixed review, The Guardian commended the quality of Donaghy's lyricism, saying that her "unstinting candour provides a welcome edge to a set of songs that sometimes feels neither here nor there."