Audrey Hobert isn’t afraid. In her debut album, Who’s The Clown?, she’s not afraid to talk to boys, get high, and be unapologetically herself.
Songs like “Sex and the city” draw you in with a promise of girlhood, only to deliver in the most vulnerable fashion. In a song I presumed to be a club classic, Hobert surprised me with her self-deprecation; “And if he’s hot and seems into, it’s accidental, what’s it like to be admired, hot and desired?” she sings through the melancholy melody. It’s a relatable riff, and something everyone has felt at one point or another; am I the ugly friend? Do they really like me? Am I enough?
“Silver Jubilee,” however, maintains the pop-princess momentum Hobert was gaining with her debut single, “Sue me.” Here, she describes living messily and unapologetically in her youth; “Yeah, I’ma take a shot, I’ma pour one out, I’ma fall in love just to find out you’re crazy, I’ma live it up like my life starts now,” she sings to a synth-heavy soundtrack, reminding listeners that life feels fuller when you truly live it.
“Bowling alley,” one of the album’s three singles, is arguably my favorite track. It’s pop with a pinch of sadness, as Hobert has perfected throughout her songwriting; she’s describing the somewhat inescapable fear of missing out, torn between being at home or attending a party, not-so-surprisingly located at a bowling alley, as the title suggests.
She proves in this track that the grass is always greener; when you’re at home, you want to be out, traversing the world, but, then, suddenly, it strikes you – the urge to go back, be in your own space, and stay surrounded by your comforts. In the constant tug-of-war against life, the idea of what you “should be doing” always wins. We get too in our heads, preventing ourselves from even enjoying whatever we are doing in the first place. Like Audrey says, “Everybody loves a winner. Who’s gonna tell ‘em I’m a lucky beginner?” In a world where it’s everyone’s first time living, why are we refusing to believe that we’re worthy of a win?
In a standout debut, Hobert has cemented herself as a pop princess. Her songwriting acts as a window into the wonders of young adult life; it’s messy, depressing, beautiful, and electric – all at the same time. And, if the question is “who’s the clown?”, then the answer is anyone who ever doubted that Audrey Hobert is a star.
Nicole Speros holds a Bachelor’s degree in Communications & Media Studies and is currently diving deeper into the industry at Berklee College of Music, where she’s studying Music Business. A passionate storyteller with an eye for what’s next, Nicole brings a sharp, curious voice to her work as a music journalist. She covers emerging artists, shifting trends, and the ever-evolving intersection of music and media—with a focus on authenticity, accessibility, and the songs that connect us all.
She’s an active member of GRAMMY U/The Recording Academy and Women in Music, always looking for ways to support and amplify voices in the industry. When she’s not in class or writing, you’ll probably find her stage-side at a local Boston show or hopping on a plane for her next adventure.