Audrey Hobert, a 27-year-old musician and former television writer, has experienced a rapid rise in the pop music world since the release of her debut album, *Who's the Clown?*, nearly a year ago. Transitioning from aspiring screenwriter to songwriter, Hobert has found unexpected success with her punchy, narrative-driven songs, blending sharp humor and personal storytelling. Her single "Sue Me" notably reached No. 57 on the Billboard singles chart in September, almost 17 months after its release.
Raised in Los Angeles within a creative family—her father is a veteran television writer and her brother Malcolm Todd is also an emerging singer—Hobert initially aimed to build a career in television. She worked as a writer for two seasons on a Nickelodeon show but found that the collaborative and competitive nature of TV writing sometimes conflicted with her desire to craft highly autobiographical work. This desire, combined with the influence of her longtime friend and collaborator Gracie Abrams, propelled her toward music, a field where she discovered a new outlet for self-expression.
The breakthrough came during Hobert’s collaboration with Abrams, which led her to embrace songwriting around the age of 24 or 25. Hobert says she felt an unusual lack of impostor syndrome in music compared to her previous jobs, giving her the confidence to pursue this new path. She describes her songwriting style as informed by her TV writing background, often structuring songs like sketches or narrative arcs with a focus on memorable details and humor. This approach manifests in her music videos and lyrics, where she often explores exaggerated versions of herself, balancing an awkward yet self-aware persona.
Despite the success and growing fanbase—including performances to large audiences such as at Lollapalooza—Hobert remains cautious about the pressures of public perception. She deliberately limits her exposure to social media to avoid becoming overly self-conscious or absorbed by others’ opinions. She explains that the nature of her work requires a focus on self-examination, and she is wary of letting the demands of fame erode her sense of fun and authenticity. Hobert views her music not only as self-expression but also as a sort of ongoing memoir, and she expresses eagerness to return to songwriting once the demands of touring subside.
Hobert’s music is characterized by its idiosyncratic structure, with unusual line breaks and varying vocal hooks designed to keep listeners engaged. She credits artists like SZA for inspiring her embrace of unconventional rhythms and rhymes. While acknowledging that her songs may sometimes come across as blunt or overly direct, Hobert explains that this is intentional: she wants to pack as much meaning as possible into her work.
Looking ahead, Hobert intends to balance her creative ambitions with the realities of her rapidly evolving career. She accepts that change is inevitable but is determined to maintain her identity and continue having fun with her craft. Her story illustrates the growing intersections between traditional media backgrounds and the modern pop music landscape, highlighting a new type of artist navigating both worlds.