Audrey Hobert: the smart, slapstick world of a pop songwriter

Backstage in Berlin, Audrey Hobert’s dressing room reads like a prop cupboard for a comedy sketch: an overlong beige trenchcoat puddling on the floor, two sets of Groucho Marx glasses reworked with orange fluff to match her strawberry‑blond hair, and a ladder hidden beneath the coat for a gag that plays like high‑budget trompe l’oeil remade as slapstick.

“I just wanna amuse people,” she says, settling on the sofa in a pink T‑shirt and vintage coat, ready to turn that theatrical impulse into a set of peppy, precisely staged songs. Hobert’s pop career began by accident after moving in with her childhood friend and collaborator Gracie Abrams; what started as a whim grew into six co‑written tracks on Abrams’ second album, a moment she calls “complete kismet.” A screenwriting graduate who once worked on a Nickelodeon show, she signed to RCA and released her own album Who’s the Clown?, marrying breezy, lyrically dense hooks to sharp comic timing.

Germany, Berlin

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