How a TV writer turned self-produced auteur is redefining pop stardom one self-directed anthem at a time
The bowling alley has always been society’s great equalizer – a place where CEOs and college students stand shoulder-to-shoulder in rented shoes. It’s this democratic spirit that makes Audrey Hobert’s sophomore single “Bowling Alley” such perfect metaphor for her sudden, unexpected rise. In an industry obsessed with polish, the 23-year-old songwriter-turned-sensation has become pop music’s most compelling gutter ball – gloriously imperfect, unpredictably brilliant, and wholly herself.
When Hobert’s debut single “Sue me” exploded with 8 million streams in weeks, music journalists scrambled to categorize the phenomenon. NYLON called it “a fearless, capital-P pop song,” while Cosmopolitan praised its “indie sleaze-influenced production.” But what few realized was that the viral hit nearly didn’t happen – its creator had been happily working as a television writer when childhood friend Gracie Abrams pulled her into songwriting sessions for The Secret of Us.
“I thought I was just helping a friend,” Hobert admits over Zoom, her camera angled to show the DIY editing setup where she cuts all her videos. “Then I started writing these songs that were too… me to give away.” The proof plays in her sold-out shows – at New York’s Slipper Room last week, crowds shouted every word of “Sue me” back at her, a surreal full-circle moment for someone who’d previously only written dialogue for fictional characters.
“Bowling Alley” (out now via RCA Records) doubles down on Hobert’s signature cocktail of vulnerability and wit. Over dreamy synths that belie its biting lyrics, she sings about “people who’ve known you for years only caring when you do something publicly exciting.” It’s the kind of observation that cuts deep precisely because it’s delivered with a shrug – what she calls her “anti-poetry” approach.
“‘Bowling alley’ is one of my favorite songs I’ve ever written,” she says. “If Audrey Hobert were a song, it would probably be this one.” The self-directed video (her fourth including Abrams’ projects) features Hobert wandering a neon-lit alley in the kind of awkward-yet-choreographed movements that have become her visual trademark.
What makes Hobert’s rise remarkable isn’t just its velocity – it’s her complete creative control in an era of factory-made pop. Industry veterans are taking note. “She’s the rare artist who understands every element of her craft,” says RCA A&R exec Mark Owens. “The videos, the lyrics, the performances – it’s all one cohesive vision.”
That vision extends to her June 24 debut at LA’s Elysian Theater, already sold-out. Early footage from New York shows an artist completely at ease in chaos – forgetting lyrics, laughing it off, then delivering a vocal run so pristine the crowd goes silent.
With “Bowling Alley” cementing her as 2025’s most exciting new voice, Hobert remains characteristically low-key about future plans. “I’m just trying to make things that feel true,” she says, adjusting the camera to show the bowling pin lamp she thrifted for her bedroom. “And maybe learn how to actually bowl.”
One thing’s certain: In a music industry full of perfect games, Audrey Hobert’s gutter balls are far more interesting to watch.
The Pop Blog general news and updates, mostly from press releases and conferences.