REVIEW: “Who’s The Clown?” by Audrey Hobert

Free Press editor’s opinions on “Who’s The Clown?” by Audrey Hobert

Baila Love, Online Editor-in-Chief • 88 Views

September 9, 2025

Cover of “Who’s The Clown?” by Audrey Hobert. Collected from RCA Records.

Following her boom of success from helping write “The Secret of Us” by Gracie Abrams, Audrey Hobert released her debut album “Who’s The Clown?” When I’ve tried to suggest this album to my friends, most of them go “who?” without knowing she’s co-written for many popular pop artists besides Abrams such as Alessi Rose and her brother Malcolm Todd. I’ve been anticipating Hobert’s solo debut for months, so of course I had to share my thoughts with our readers, track by track.

“Who’s The Clown” by Audrey Hobert

"I Like To Touch People"

I can’t decide if Hobert started this album in the best or the worst way. “I Like To Touch People” is a jarring first song to hear when a listener presses play on “Who’s The Clown?,” but it sets the tone in a way the other tracks couldn’t. For any other album, this would definitely be a detrimental title for the first track, but considering that Hobert has embodied this awkward, slightly off-putting but still fun persona for this release, it works impressively well. The lyrics “I like the look in their eye/Like whеn they double over/I likе when they nod wide-eyed, screaming,"’So right’” are slightly concerning, and these weird lines may make her more flawed, but in turn make her more real and human. However, she recovers quickly from this awkward energy with the second track and lead single, “Sue Me.”

"Sue Me"

I have always said that the best pop albums have the lead single as the second track; it works great for flow and keeping the listener’s short attention span. Hobert’s placement of “Sue Me” shows she is no stranger to the composition of a good pop album. Not only that, but this is such a fun pop song; I can’t help but dance around my room for the entire 2 minutes and 50 seconds. Even if this song explores themes of insecurity, it still has the catchiest lyrics. I find myself singing “And 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” at least once every 12 hours since this came out as a single. Many people online critique her for being “cringy,” but it makes her more charming and human, especially considering the context. In a now archived version of her website, Hobert explained that she started writing “Sue Me” after a Nickelodeon show she was writing for got cancelled. Throughout the entirety of “Who’s The Clown?,” that 2000s influence is clearly present of cringey Nickelodeon shows and fresh pop girls who started on the Mickey Mouse Club. This is a perfect way for Hobert to keep her album cohesive auditorially while still making it personal to herself. That retro sound is apparent in the next track, “Drive.”

"Drive"

This song almost feels like an intermission because of how short and sweet it is. The highlight of “Drive” is the 8-bit production, primarily with the synthesizer and programmed drum beat. Though I usually appreciate longer songs, one of Hobert’s strengths on “Who’s The Clown?” is knowing when to cut a song short because of how simple her writing and production style is. I wouldn’t call this album complex or groundbreaking, but that’s not what she was going for; this is simply an album for people who want to have fun and “put it in drive again.” “Drive” in particular is such an underrated hit because it captures the relieving experience of being able to escape an overwhelming place in your own space—in this case, a car. This song would be my first suggestion to anyone who wants to start casually listening to Hobert’s music more because of how simple yet hard-hitting it is.

"Wet Hair"

I am always showing up to the function with wet hair so “Wet Hair” is very special to me personally. Though seemingly being simple and fun like many of the other songs on this album, this is the most anxious song of hers. This is displayed clearly in verse two with the lyrics “I'm in the car, I'm killing time/Should I go in and guzzle a glass of wine?/Sorry, is it rude to already be at the bar when you're not?/I don't know, I don't know.” Throughout the production, the muffled guitar gets overpowered by the drum beat, leaving the listener wanting more, but this is intentional. It contributes to the anxious themes of the song in a subconscious way. The entire song is the epitome of overthinking when really, no one cares.

"Bowling Alley"

“Bowling Alley” is what got me hooked on “Who’s The Clown?” I love to listen to this song while going on walks in the sun. Hobert stays very consistent in the production of this song: the same drum-beat, the same chords on a slightly muted guitar, but that’s what is so good about it. The message behind the song is basically just “the grass is always greener on the other side.” She explores a unique style for the chorus where it’s different lyrics to progress the situations she’s comparing, but the same melody so it has the same effect as a normal chorus. This is another track I’d suggest to get someone introduced to the album.

"Thirst Trap"

“Thirst Trap” has become the break-out hit of this album. Similar to a majority of this album’s tracks, the strength in this song is the crying on the dance floor vibe to it. I might be jamming out but if I take a second to listen to the lyrics, such as “I'm takin' thirst traps in the mirror in my room/I think I look bad, so I take a hundred,” then I feel called out. I also love the line “I listen to my playlist and pretend I'm you/Look at what I post and then pretend I'm you” because it highlights an experience that listeners may not realize is actually common.

"Chateau"

Hobert knows how to make a catchy song, and “Chateau” is clear evidence of that. If this album was released in the late ‘90s, this would be her one-hit wonder song. The layering of acoustic guitar, synths and quick-paced drums make the production emulate authentic ‘90s artists like Natalie Imbruglia and Lisa Loeb. The additional, more rock-focused chorus at the end makes the song feel more dynamic due to the differentiation. Sadly, the chorus is the only good part of the song. I find the verses and bridge boring which Hobert doesn’t usually have an issue with.

"Sex And The City"

I don’t have a connection with “Sex and The City,” the song or the show. Production-wise, I’m bored. An acoustic guitar and a simple synth chord progression is rudimentary compared to the rest of the album. I understand wanting to have a slower song on the album but that doesn’t fit in “Who’s The Clown?” Usually for slower songs, where they lack in production, they make up for in really powerful lyrics, but that simply is not Hobert’s style. Though not groundbreaking, this song definitely has some of my favorite lyrics, such as “That’s all for now, Mr.Driver/I’m rating you five stars” and “He’s heating up and eating up pizza pocket” which are only good because they fun to listen to, I just wish the production matched. I’m not saying this has to be a mega club hit, it should just have more depth.

"Shooting Star"

Real fans know “Shooting Star” was the first ever solo song Hobert teased on her socials. The strength in this song is the consistent production. The synths make it feel like I’m travelling through space, almost like a shooting star. The slight electronic mixing of her vocals adds to this techno-space vibe. Besides the production, the song was a bit of a let down. It explores themes of ignoring red flags, which is completely overdone in modern pop albums. “When I’m drunk in the club I wanna be felt up” is catchy due to the assonance, but the rest of the lyrics are uninspired.

"Don’t Go Back To His Ass"

If I sat down and listened to the entire “Phineas and Ferb” soundtrack and “Don’t Go Back To His Ass” was somehow snuck in there, I wouldn’t bat an eye. It has the same layered vocals, silly theme, bright guitar and laid-back drums, but I find this to be enjoyable even if unintentional. Additionally, this is a universal experience for any girl ever. There is always going to be some boyfriend that a friend won’t get over despite being totally sucky, and it’s exciting that we have another anthem for that.

"Phoebe"

“Phoebe” is a deep, dark low on “Who’s The Clown?” It’s not appealing to reference pop culture, in this case, “Friends,” and use it as a motif throughout the lyrics. I find this song boring in a similar way to “Chateau” where the chorus is the only part that is remotely exciting but this song's chorus is miles worse. However, I do find the lyrics “‘Cause why else would you want me?/I think I've got a fucked up face” painfully funny for being so blunt explaing such a personal experience. If there had to be a best part of the song, it would be the straightforward explanation of her insecurities throughout the lyrics, but it’s still not on par with other songs on this album with similar themes. The bright production is similar to “Bowling Alley,” but the delivery feels weirdly rushed. “Phoebe” has potential, but falls flat in all aspects.

"Silver Jubilee"

“Silver Jubilee” is overwhelming to me in comparison to the rest of the album. The consistent bass beat is specifically what sets it apart from the laid-back production of the rest of the album. Standing on its own, this is a solid track. The pre-chorus is the best display of her vocal ability I’ve heard thus far and I would add it to a playlist alongside artists like Charli xcx and Marina without a second thought. However, another big issue with “Silver Jubilee” is that it does have that 2014 pop sound that was shaped by the aforementioned artists. The rest of the tracks are more similar to the music of the late ‘90s and early 2000s which is why this track stands out so much. If this song had to remain on the album, the last track is the perfect spot for it. It heavily reminds me of “Perfect Places” by Lorde in the way that it gives an otherwise entirely depressing album a sweet end. I still think “Silver Jubilee” would’ve worked much better as a standalone release or on a potential future album.

“Who’s The Clown?” isn’t the biggest pop album of 2025, nor is it the most hard-hitting, but it’s definitely the most fun. This is the “Glee” of albums; nobody is claiming it’s the most quality album but somehow, people love it just because they have fun listening to it. “Who’s The Clown?” is a solid 7/10.

About the Contributor

Baila Love, Online Editor-in-Chief

Baila is a senior and the Editor-in-Chief of the Free State Free Press Online. Her goals for the 2025-2026 school year are to make our content more interesting for our readers. Outside of journalism, she is involved in forensics, theater, varsity improv, National Honor Society, Fashion Club and Finer Things Club. Outside of school, she likes to practice her instruments, listen to CDs and hang out with her cat, Julien.

Donate to Free Press Online

$250

$1500

Contributed

Our Goal

Your donation will support the student journalists of Lawrence Free State High School. Your contribution will allow us to purchase equipment and cover our annual website hosting costs.