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Aug 27, 2025Aside from “Sue Me”, most of the songs on Who’s the Clown? do not sound like radio singles, a format traditionally associated with “pop”. Instead, Hobert uses this structure as a platform for verbose storytelling, much like she employs celebrity as a means to discuss the pitfalls of fame. Unlike other pop stars, Hobert does not seek to be aspirational.
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Aug 27, 2025The production in songs like ‘Drive’, with its charming bass line, and ‘Silver Jubilee’, with its flirtation with 2016-electropop, are nice surprises, but overall the record can get a little repetitive with its themes and melodies. .... But her comedic and very specific style does shine through either way, and performing these songs for a crowd will probably add to the depth of future projects.
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Aug 27, 2025With Who’s the Clown?, Hobert has asserted her place as one of pop’s great new voices.
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Aug 27, 2025The songs on Who's the Clown fittingly sound like an extension of Abrams’ world: verbose, conversational, unfiltered. .... But the album falters in its second half, where Hobert uses specificity as a crutch, struggling to transcend the biographical details of her own, quite exceptional, life.