Audrey Hobert’s ‘Who’s the Clown?’ at El Rey Theatre

Audrey Hobert isn’t clowning herself anymore. She was meant to be a pop star.

“I had been sitting on all of this music long enough that there was like a tiny man in my soul beating down the door of my soul,” Hobert, 26, said on a recent rainy morning at Swingers Diner in Hollywood.

This week, the L.A. native sets out on her Staircase to Stardom tour across North America, Europe and Australia.Intimate venues will see her perform from her debut album, “Who’s the Clown?,” released via RCA Records in August. She stops at the El Rey Theater in the heart of Miracle Mile on Thursday, before performing the next day at Inglewood’s Intuit Dome for Jingle Ball.

Though the “Bowling alley” singer has “so immensely” enjoyed her whirlwind year, music wasn’t always in the cards. After graduating from New York University with a BFA in screenwriting in 2021, she fell into place behind the scenes, working in a Nickelodeon writers’ room for the since-canceled “The Really Loud House.”

Everything changed when she started penning tracks with childhood friend Gracie Abrams for the 2024 album “The Secret of Us.” Hobert signed a publishing deal with Global Music Group soon after and participated in songwriter sessions for a few months before setting her sights on something more personal. Initially writng for herself, it became clear her confessional lyrics couldn’t be confined to her bedroom walls.

She teamed up with producer Ricky Gourmet to pin down the perfect level of bubblegum pop and determine when a song was in need of a good saxophone solo. Despite never being cast in a led role during her “theater kid” tenure, hobert’s music exudes main character energy. The frist single she put out, “Sue me,” a high-voltage pop anthem about hooking up with an ex if only to feel wanted for a glimmer in time, reached No. 26 on Billboard’s Pop Airplay Chart. The music video accompanying the release – directed by Hobert, as all her videos are – introduced listeners to an artist not afraid to dance like nobody’s watching.Even though she’s performed only a handful of shows, she already has a dedicat

Audrey Hobert on Staying Grounded and the Excitement of Her First Tour

As someone who likes to be at home in her creams and nightgown, how have you adapted to the life of an up-and-coming pop star?

I just still feel like a girl who likes to be in her creams and nightgown, and I also, in addition to that, really enjoy the feeling of working and sort of running on fumes. I think if you like that feeling too much, it dips into hazardous territory a little bit, but it doesn’t … feel much like partying. For instance, I’ve been shooting a music video for the past four days, and last night I was up until 3 in the morning with what we were referring to as the skeleton crew. It feels like I’m not even almost entirely there yet, and I will innately no, “Oh my God, I’ve arrived.” But you can sort of protect yourself from it if that’s what you wont.

How are you feeling about performing in L.A.?

I think I’m gonna be incredibly nervous because it’s gonna be the majority of my friends and family there, and I’ve made the decision to keep all details of what the tour is gonna be a secret from all of my friends and family, just so that they can see it. I just feel like I’m going to get the best feedback from them if I’m not tipping them or giving them a hint as to what it’s going to be and if they’re just witnessing it for the first time. And that’s kind of what I’m interested [in] with this first tour, because it’s so short and it’s almost an underplay, and I just am wanting constructive criticism and what worked, what didn’t.

Do you get more nervous performing in front of friends and family?

Nervousness and excitement are the same.It’s a very similar feeling. I think it’s more excitement than nervousness. In my experience over the summer, going to places around the world and performing, I always was more excited for the shows that I knew I had people that I personally knew at. Performing in australia and Amsterdam and Berlin, it was sort of a pressure’s off feeling.

How were the other shows?

It was such a great first crack at singing my songs to a crowd of people. I never really pictured myself as “girl with guitar on stage alone,” but it is how I wrote a lot of the songs.So it didn’t feel like I was cosplaying, necessarily, but I am also a theater kid, and my deep instinct is to be on my feet sans instruments for certain songs, and so I have no idea how it’s gonna feel.I did “Jimmy Fallon,” and that was sort of a taste,but it’s not what performing…

Audrey Hobert’s Retro Sound and Modern Drive

Audrey Hobert isn’t trying to reinvent the wheel,but she is putting a fresh spin on a classic. The French-born,Los Angeles-based singer and songwriter blends the timeless elegance of jazz standards with a contemporary pop sensibility,creating a sound that feels both familiar and utterly her own.

Hobert’s journey began with a classical piano education, but her musical tastes quickly expanded to encompass the greats of jazz, French chanson, and American pop.Artists like Ella fitzgerald, Serge Gainsbourg, and carole King became formative influences, shaping her approach to songwriting and performance.

“I’ve always been drawn to music that tells a story,” Hobert explains, sipping a milkshake at Swingers Diner in hollywood, a fitting backdrop for her retro-infused aesthetic.”For me, it’s about crafting songs that are honest and emotionally resonant, whether they’re upbeat and playful or more introspective.”

Her latest EP, “Monochrome,” is a testament to this beliefs. The five-track collection showcases Hobert’s velvety vocals and complex arrangements,ranging from the swinging energy of “City Lights” to the melancholic beauty of “Ghost of You.” The EP’s success has garnered attention from tastemakers and fans alike, leading to performances at prominent venues across Southern California.

But Hobert isn’t content to simply replicate the sounds of the past. She’s actively pushing boundaries, incorporating electronic elements and modern production techniques into her music. This willingness to experiment allows her to bridge the gap between generations, appealing to both seasoned jazz aficionados and a younger audience discovering the magic of classic songwriting.

“I want my music to feel timeless, but I also want it to reflect who I am as an artist today,” she says. “It’s about finding that balance between honoring the traditions I love and forging my own path.”

With a captivating stage presence and a growing catalog of compelling songs, Audrey Hobert is poised to become a significant voice in the contemporary music landscape. She’s a reminder that sometimes, the best way to move forward is to look back – and than add your own unique flair.

Gracie Abrams on ‘The Secret of Us’: “I Wasn’t Like, ‘people Like the Song.’ I Was Like, ‘I Love This Song.'”

Gracie Abrams’ debut album, The secret of Us, is a masterclass in emotionally raw and sonically captivating pop. the record, born from a period of intense self-discovery and collaboration with her longtime friend and producer, ricky Reed, has resonated with listeners for its vulnerability and honest portrayal of young adulthood. Abrams recently sat down to discuss the album’s origins, creative process, and the surprisingly freeing experience of sharing her work with the world.

On finding the right collaborator:

Abrams describes a past reluctance towards collaborative songwriting, a feeling that shifted dramatically when she met Ricky Reed. “There was a way to get out of doing songwriting sessions, and then I met Ricky and knew that I didn’t want to spend all day, every day, making something with anybody else. It was just the purest, most greatest fun of my young life.”

The album’s striking imagery:

The album’s title and cover art arrived to Abrams in a sudden burst of inspiration. Initially conceived as a solo project,she envisioned a cover that would immediately intrigue potential listeners. “I just never considered that a label might get involved. And I thought, as a new artist, I’m going to have to intrigue people with the cover of this project, whatever it is. and I just felt like a white girl making pop music hasn’t done horrifying imagery. I just [wanted] to scare someone and to make someone go, ‘What kind of music is this?’ And then you find out it’s just pop. That was the intention.”

The anticipation of release and the impact of “Sue Me”:

The lead single, “Sue Me,” experienced several release date delays, each postponement intensifying Abrams’ eagerness. “The date of the release got pushed back a few times,and every time it got pushed back,my heart broke a little bit.I just couldn’t wait. I was more eager than I’d ever been to do anything … and the second I put one song out, I felt just way more free.” While acknowledging that success isn’t guaranteed, she expressed gratitude for the song’s reception. “It’s not like ‘Sue me’ is a ‘Million Dollar Baby,’ Tommy Richman-style viral hit, but it did catch fire and that felt great. Also, I had probably, by the time that ‘Sue me’ came out, listened to it upwards of 800 times. So I wasn’t like, ‘People like the song.’ I was like, ‘I love this song.'”

The shift to personal songwriting:

Writing with her close friend Gracie felt natural and fulfilling. “Writing with Gracie was the same kind of bliss as it feels to write by myself, but it’s sweeter in a different way. It feels good in a different way because it’s totally shared. And one of my greatest joys in life is sharing in something with her. It always has been since I’ve known her, since we were kids.We never planned or thought we would collaborate in a greater way, because it felt like hanging out was a creative collaboration; I can’t really describe it.” She describes solo writing as more demanding, but equally rewarding, comparing the feeling of crafting a compelling lyric to a “drug-like rush.”

Blending nostalgia with modern themes:

Abrams’ music evokes a sense of nostalgia while simultaneously addressing contemporary issues, particularly those related to the digital age. She notes that while she didn’t consciously draw on specific influences for this project, she anticipates that will change with her next album.”I think that could become true for my next album, but I felt like I didn’t know the rules of songwriting. I always would listen to pop….”

Olivia Rodrigo on Fashion, Writer’s Block, and the Power of Connection

Olivia Rodrigo, the singer-songwriter behind the critically acclaimed album GUTS, recently shared insights into her creative process, personal style, and the most rewarding aspects of her burgeoning career in an interview. From her Disney Channel fashion icon to her thoughts on writer’s block and the profound impact of connecting with her audience,Rodrigo offered a glimpse behind the scenes of her success.

Embracing Effort and Authenticity in style

Rodrigo acknowledges a shift in her approach to appearance, particularly when reflecting on past photos. She admits there are times when a little extra effort is worthwhile, but emphasizes the importance of remaining true to herself. This balance between presentation and authenticity resonates with manny young artists navigating the public eye.

Navigating the Creative Process: writer’s Block and Flow

The conversation turned to the often-dreaded topic of writer’s block. rodrigo shared a thoughtful perspective, questioning the very concept of its “reality.” She’s come to believe that forcing creativity isn’t the answer. Rather, she focuses on allowing inspiration to strike organically.

“I don’t have to worry about if I’m a writer or not, because I’ve felt like a writer my entire life,” she explained. She contrasts differing approaches to songwriting – some artists prioritize daily output, while others take extended breaks – and ultimately trusts her own internal rhythm. “How I feel this morning is when I have a song to write, I know I’m gonna write it. I try not to waste my time worrying about why I’m not writing all the time in the way I was when I wrote the album.”

The Profound Reward: Connecting with Her Audience

Perhaps the most compelling part of the interview centered on what Rodrigo finds most rewarding about her success. She revealed that it extends far beyond the superficial trappings of fame – the media attention or social media validation. the true reward, she says, lies in the connection she makes with her audience, a sentiment powerfully linked to the themes explored in her opening track, “I like to touch people.”

She described this connection as “more exciting than the flashing lights of the L.A. Times photographer at Swingers Diner and it’s more exciting than someone who I respect following me on Instagram,” highlighting the genuine impact her music has on others. This underscores the core motivation behind her work and the profound fulfillment she derives from it.

Key Takeaways:

* Authenticity is Key: Rodrigo values presenting herself authentically, even while acknowledging the benefits of putting effort into her appearance.
* Embrace the Flow: She rejects the idea of forcing creativity and trusts her natural songwriting rhythm.
* Connection Over Recognition: The most rewarding aspect of her success is the connection she fosters with her audience.

Rodrigo’s reflections offer a refreshing perspective on navigating the complexities of fame and artistic expression. As she continues to evolve as an artist,her commitment to authenticity and connection promises to remain at the heart of her work.