If you think you’re unfamiliar with Audrey Hobert, think again. While she may be a fresh face, the LA-based singer-songwriter has already been quietly making waves across music and beyond. She’s co-written chart-topping tracks like “I Love You, I’m Sorry” and “That’s So True” alongside her best friend Gracie Abrams, co-directed a music video for her brother, musician Malcolm Todd, and even written for a Nickelodeon TV show – and her creativity doesn’t stop there. 

Now, Audrey is stepping into the spotlight with her debut album, Who’s The Clown?. Fun, catchy, and just the right amount of unhinged, the record serves as her bold introduction to the world – exactly as she intended. From her kitchen over Zoom, Audrey talks me through the making of the album, the leap into solo songwriting, and why sometimes, being the clown is the point.

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Who’s the Clown? has such a playful yet vulnerable tone. Where did the title come from, and how does it tie into the overall story you wanted to tell?

Well, the idea for the actual cover came first. I thought as a new artist, it was in my best interest to have some kind of imagery that would be attention grabbing. And so I thought having scary imagery would be a fun way to do that. If I were to apply meaning to it, I think a clown as imagery is timeless to me. There are clowns all the way back in the day. I just like the way they look. I am also a little scared of them, but that’s the point. I think it’s also just sort of clownish to think that your life is so interesting that you write a whole body of work about it, you know? 

You’ve mentioned quite a few times that you draw influence from film and visual arts Were there any specific movies or aesthetics that you were drawing from for this project?

It sort of did just start with the clown. In my music videos, I have random references here and there, and obviously I was watching great movies and television when I was writing the album. But in terms of the visual, the cover and the title, I just woke up one morning and it was in my head. 

A lot of people have praised the album for its theatrical and cinematic feel. Do you think your screenwriting background influenced the way you wrote this album?

Certainly. I did go to school for screenwriting. So I spent four years in classes learning about what makes a great movie and structure and all that. But beyond that, I’ve always, since I was very little, had such a love and an interest in what makes a good movie and what makes a good TV show. I do tend to, in certain songs more than others, write in an almost three act structure.  But then just fit it into three minutes, kind of like a short story style or like a short film or something. These are the first songs that I’ve written by myself, so I didn’t think actively like I’m going to write this like a movie. I was just sort of writing and then that’s how some songs turned out. 

Do you feel like your creative process differs when you’re writing with someone else versus writing on your own?

Yeah, I mean, it’s just inherently different. If I’m writing by myself, I’m the only person who has to decide if it’s good or worth putting in the song. And then if you’re collaborating, it’s a conversation. I enjoy both very much. 

Your debut single “Sue Me” made a huge splash when it dropped. Did you know right away that it had to be the introduction to you as an artist?

Yeah, that was a very early song that I did with Ricky [Gourmet]. And as soon as I made it, I was like “this is the first song I’m putting out.” It was catchy and fun – there was something about that instrumental that felt really exciting to me.

What’s the weirdest place or situation where you’ve come up with a song idea?

No matter if it’s a serious writing day for me or not, I’m always thinking about what could be a song. So, kind of everywhere I go, if I’m not at home with my notebook, I’m walking around or in the world with my phone, writing it down.

Is there any place you start with songwriting? 

It usually for me is lyrics first and then I will fit what I’m trying to say into a melody. In order for me to write a song, I have to want to say something. I find that my more interesting melodies come from just singing what I want to say, instead of top lining and then fitting words into it. 

Your friendship and creative partnership with Gracie Abrams has been a big part of your journey. What’s the most important thing you’ve learned from working with her?

I had not written music before I started writing with Gracie. She really encouraged me from the beginning when I felt like I had no idea what I was doing and still is just one of the most solid, encouraging people in my life. And collaborating with her totally, it changed my life. Just from a standpoint of like, it brought me to songwriting. Also the kind of fun that we had together is now the bar for me. 

After the success of The Secret of Us you signed a publishing deal. What made you want to write songs for yourself instead?

I just didn’t see myself as a career songwriter in the classic sort of sessions way. I really enjoyed writing on my own and so I figured [I] may as well go full force into this, if this is what I am finding that I genuinely enjoy. 

Now that the debut is out, do you have anything on your bucket list that you’re hoping to cross off or anything in the works? 

Yeah, I’m excited to put a show together. It’ll be gratifying and fun and a new experience for me. It’s been nice to just go out. Being in small rooms and connecting with people. It’s just me and my guitar, but that won’t be what my actual show is.

With her debut behind her and live shows on the horizon, Audrey is focused on creating an experience as bold and theatrical as her music. Who’s the Clown? is just her introduction – and it’s only the beginning