"Who's the Clown?" - Audrey Hobert

I love Audrey Hobert's music largely because it feels like one of the more special pieces of media I indulge in. I’ve been aware of Hobert’s existence for years, as Gracie Abrams has been referencing her in her music since 2020 (see “21”, featuring the lyric, “Audrey said she saw you out past 12 o’clock”). Hobert has been posting bits of her own work for a while, and I’ve looked forward to her official releases, as have many other Abrams fans. Hobert's debut did not disappoint.

I rate Audrey Hobert’s debut album “Who’s the Clown?” a 7/10.

The Who's the Clown? album cover

Like many other music listeners but unlike most album reviewers (I would assume), I have a hard time drawing lines both in and between genres. One of the most difficult ones for me is the sub-genre of bedroom pop, but if I had to guess what Hobert’s most prominent sub-genre is, I would say it’s that. The best examples of this are “I Like to Touch People”, “Drive”, “Wet Hair”, and “Bowling Alley”. These are the types of songs I think I would play on medium volume in my bedroom on a slow sunny morning as I get ready for the day, mixing a little bit of dancing in, but not singing. If you’re choosing songs for such an occasion yourself, I’d most recommend the latter two.

Still, Hobert knows how to write a commercial pop song. “Sue Me”, her debut single, is an absolute banger. Especially as you get to the tangent she goes on near the end, “I’m sorry that your dog died/sorry that I’m, like, your dream bride/you’ll go to heaven, and I’ll go to hell in the meantime”. The synths in the background almost remind me of The Office theme. “Thirst Trap” is perfectly catered to, well, a good and accurate time making thirst traps. “Chateau” is a good old classic upbeat song that feels almost country. “Silver Jubilee” is a final upbeat party bash closer. Unfortunately, it doesn’t stop the album from sort of dragging at the end.

In that vein, I like “Phoebe” when I hear it in TikToks, but it’s longer than it needs to be, especially after ten songs. It goes through all of Hobert’s insecurities in a touching and relatable way but lacks structure. “Don’t Go Back to His Ass” is the star of both the sad song section and the end of the album. “Shooting Star” almost fools you at the start, as an upbeat synth background plays. This song and “Sex and the City” both bemoan the trials and tribulations of being disappointed by the dating scene in your twenties. They don’t waste time doing so.

Unfortunately, Hobert’s image is too relatable for some people. I say that partly in a comical way, and partly in a sad way. She leans into the awkward-girl persona, and I love it because I see myself in it. I’m unsure why but also understand why that’s so shameful to the general young female population. But they’re just losing out. The more you lean into your reality, the easier it becomes to romanticize it.

You can stream Who’s the Clown? on all platforms now.