Audrey Hobert’s debut album, “Who’s the Clown?” proves she is more than just Gracie Abrams’ best friend and a one hit wonder for “Sue me.” With songs exploring tumultuous relationships and awkward feelings, Hobert’s latest album is for those who struggle with the unpredictability of life. 

Unafraid to sing a wacky lyric or two, Hobert provides refreshing realness about the worries that many young women face, from feeling unwanted to having conflicted feelings about an ex. This loneliness is explored throughout her album, regardless of whether she is with others or by herself. Hobert translates these painful emotions into words that elevate her as an artist while maintaining an underlying sense of humor.   

The album begins with “I like to touch people,” a  song that fits  her quirky image but is one of the weaker pieces due to the repetition of the titular line. 

“Sue me,” originally a debut single, went viral on TikTok; there are over 58,000 posts using the sound and over 26,000 uses of the related hashtag “#sueme.” The song perfectly describes the strong want to be desired — when her ex starts giving her attention, Hobert indulges. The song is catchy with a clap-like drum beat, but some of the rhyming lyrics feel forced, such as “Broke up with you in November / Sorry, I know you remember.” She also adds the line, “But fucking your ex is iconic,” which adds to the realness of wanting something back that you cannot have. 

“Drive” deserves more hype. The tune is catchy, the lyrics providing an outlet for many people to relate to: “Another disappointing night, in a little black dress, trying not to cry / In a stupid dark room with a bunch of guys / In their dollar store suits like a dumb disguise.” 

“Wet Hair” encapsulates the struggle of wanting back someone you already let go. Hobert describes a series of events that bring her back to her ex and make her start caring for him again. Though she acts like she doesn’t care, thus showing up with wet hair, her true feelings are exposed when she ends up going home with him. Her lyrics are fast paced to replicate word vomit and emphasize the anxiety of seeing this person again. 

In “Thirst Trap,” Hobert uses comedy to reference the actions and emotions of having a deep crush. She explores how this crush takes over her and makes her “uncool”: “I used to kick back, watchin’ movies and the news / But now I’m lame, it’s such a shame, I used to be so super cool.” She starts in a lower octave, expressing how this feeling is abnormal for her and how she feels crazy, saying, “So I’m crazy? (Not me) / That’s usually not my thing.” 

Like “Drive,” “Chateau” is severely underrated. The calming drum beat at the beginning sets up the rest of the song as the first lyrics come in. With everyone wanting to become famous, it was refreshing to hear a song from someone who feels the opposite. This is reflected in the ironic lyric, “Like, shit, how’d I even get in? And I’d love to get out, oh.”

Hobert showcases her vulnerability in “Sex and the city,” expressing the pain of being invisible and never chosen. She phrases the feeling perfectly with the lines, “And if he’s hot and seems into it, it’s accidental / What’s it like to be admired? / Hot and desired?” She talks about dating culture, mentioning going to a bar and not feeling desired by those around her, as well as the fear of failure when she leaves alone: “Didn’t score any guys so I’m lost.” She also depicts the flip side of when she does go home with someone, but not someone she truly likes. She jokes about how the guy is an artist off his meds, referencing the show “Sex and the City,” where the characters tend to go out with more successful men. 

The tempo of “Shooting star” brings a different energy to the album, starting slower and continuing at a mellow pace. Hobert explores how many people tend to stay with their significant other because they think the other person is special, like a shooting star, even if they are mistreated in reality. It adheres to the theme of loneliness in Hobert’s album and the lengths that many, including Hobert, go to in order to avoid these feelings. 

“Don’t go back to his ass” is a reminder that many people need to hear after a breakup. The song deals with imagining your past ex after a breakup and reminding yourself why it had to end. She adds charm by offering some blunt words of advice: “Don’t go back to his ass, that shit is a trap / All breaks, no gas, just don’t go back to his ass / Much better to laugh from just where you’re sat.” 

Next up, “Phoebe” is based around Hobert moving to New York City and relating to the show “Friends.” She compares herself to Phoebe, one of the show’s main characters, who plays guitar and writes funny songs. The tune is like a rollercoaster and shows off her speed-style lyrics, with Hobert’s voice going up and down. She seems to be fine in the daytime while she is watching “Friends,” but her loneliness comes back at night: “But now I’m never lonely, not since I met Joey / But when I turn the lights off, Joey doesn’t hold me.” In the chorus, she goes into her physical insecurities, such as her acne, as she wonders if “Joey” — another “Friends” character — would want her if he was a real person. 

Closing the album is “Silver Jubilee,” which has an incredibly catchy chorus. This upbeat song ends with a saxophone outro, bringing something unique to end the album. The energy of the song of letting go for the night is reflected in the lyrics: “I’ma put my drink up, it’s drinks up now / I’ma tell my sister she’s perfect / Yeah, I’ma live it up like my life starts now.” 

“Who’s the Clown” showcases Hobert’s personality — the good and the awkward — proving that she has the potential to become pop’s next star.

Audrey Hobert’s debut album, “Who’s the Clown?” proves she is more than just Gracie Abrams’ best friend and a one hit wonder for “Sue me.” With songs exploring tumultuous relationships and awkward feelings, Hobert’s latest album is for those who struggle with the unpredictability of life. 

Unafraid to sing a wacky lyric or two, Hobert provides refreshing realness about the worries that many young women face, from feeling unwanted to having conflicted feelings about an ex. This loneliness is explored throughout her album, regardless of whether she is with others or by herself. Hobert translates these painful emotions into words that elevate her as an artist while maintaining an underlying sense of humor.   

The album begins with “I like to touch people,” a  song that fits  her quirky image but is one of the weaker pieces due to the repetition of the titular line. 

“Sue me,” originally a debut single, went viral on TikTok; there are over 58,000 posts using the sound and over 26,000 uses of the related hashtag “#sueme.” The song perfectly describes the strong want to be desired — when her ex starts giving her attention, Hobert indulges. The song is catchy with a clap-like drum beat, but some of the rhyming lyrics feel forced, such as “Broke up with you in November / Sorry, I know you remember.” She also adds the line, “But fucking your ex is iconic,” which adds to the realness of wanting something back that you cannot have. 

“Drive” deserves more hype. The tune is catchy, the lyrics providing an outlet for many people to relate to: “Another disappointing night, in a little black dress, trying not to cry / In a stupid dark room with a bunch of guys / In their dollar store suits like a dumb disguise.” 

“Wet Hair” encapsulates the struggle of wanting back someone you already let go. Hobert describes a series of events that bring her back to her ex and make her start caring for him again. Though she acts like she doesn’t care, thus showing up with wet hair, her true feelings are exposed when she ends up going home with him. Her lyrics are fast paced to replicate word vomit and emphasize the anxiety of seeing this person again. 

In “Thirst Trap,” Hobert uses comedy to reference the actions and emotions of having a deep crush. She explores how this crush takes over her and makes her “uncool”: “I used to kick back, watchin’ movies and the news / But now I’m lame, it’s such a shame, I used to be so super cool.” She starts in a lower octave, expressing how this feeling is abnormal for her and how she feels crazy, saying, “So I’m crazy? (Not me) / That’s usually not my thing.” 

Like “Drive,” “Chateau” is severely underrated. The calming drum beat at the beginning sets up the rest of the song as the first lyrics come in. With everyone wanting to become famous, it was refreshing to hear a song from someone who feels the opposite. This is reflected in the ironic lyric, “Like, shit, how’d I even get in? And I’d love to get out, oh.”

Hobert showcases her vulnerability in “Sex and the city,” expressing the pain of being invisible and never chosen. She phrases the feeling perfectly with the lines, “And if he’s hot and seems into it, it’s accidental / What’s it like to be admired? / Hot and desired?” She talks about dating culture, mentioning going to a bar and not feeling desired by those around her, as well as the fear of failure when she leaves alone: “Didn’t score any guys so I’m lost.” She also depicts the flip side of when she does go home with someone, but not someone she truly likes. She jokes about how the guy is an artist off his meds, referencing the show “Sex and the City,” where the characters tend to go out with more successful men. 

The tempo of “Shooting star” brings a different energy to the album, starting slower and continuing at a mellow pace. Hobert explores how many people tend to stay with their significant other because they think the other person is special, like a shooting star, even if they are mistreated in reality. It adheres to the theme of loneliness in Hobert’s album and the lengths that many, including Hobert, go to in order to avoid these feelings. 

“Don’t go back to his ass” is a reminder that many people need to hear after a breakup. The song deals with imagining your past ex after a breakup and reminding yourself why it had to end. She adds charm by offering some blunt words of advice: “Don’t go back to his ass, that shit is a trap / All breaks, no gas, just don’t go back to his ass / Much better to laugh from just where you’re sat.” 

Next up, “Phoebe” is based around Hobert moving to New York City and relating to the show “Friends.” She compares herself to Phoebe, one of the show’s main characters, who plays guitar and writes funny songs. The tune is like a rollercoaster and shows off her speed-style lyrics, with Hobert’s voice going up and down. She seems to be fine in the daytime while she is watching “Friends,” but her loneliness comes back at night: “But now I’m never lonely, not since I met Joey / But when I turn the lights off, Joey doesn’t hold me.” In the chorus, she goes into her physical insecurities, such as her acne, as she wonders if “Joey” — another “Friends” character — would want her if he was a real person. 

Closing the album is “Silver Jubilee,” which has an incredibly catchy chorus. This upbeat song ends with a saxophone outro, bringing something unique to end the album. The energy of the song of letting go for the night is reflected in the lyrics: “I’ma put my drink up, it’s drinks up now / I’ma tell my sister she’s perfect / Yeah, I’ma live it up like my life starts now.” 

“Who’s the Clown” showcases Hobert’s personality — the good and the awkward — proving that she has the potential to become pop’s next star.