Audrey Hobert’s Jokes Are Universal: A Night at Brooklyn Paramount
Audrey Hobert was thankful to be at the Brooklyn Paramount after a mildly received performance on Jimmy Kimmel. “They just kind of sit there,” Hobert demurred about the late-night TV crowd as she stepped onto the stage for night two of three sold-out shows in Brooklyn. Audrey Hobert’s jokes are universal, and her ability to connect with a live audience is undeniable.
Indeed, her crowd at the Paramount on September 30 was certainly not just sitting there. It took me about 45 minutes to get into the show for unclear reasons and the line snaked around three full blocks, resembling a multi-colored lanyard of Gen Z and Millennial pop fans dressed in bright pinks and yellows, and some even in full thematic clown regalia. Once inside, the crowd was faced with a mannequin, a curious decoy prop, on stage before the show began. Once Hobert arrived, standing atop a chair that was covered by an absurdly long trenchcoat a la The Little Rascals, the attendees were pretty much unanimously partaking in collective karaoke.
@allychiu Audrey Hobert at Brooklyn Paramount was so good live #audreyhobert #audreyhobertconcert #audreyhobertlive #brooklynparamount #audreyhoberttour @Audrey Hobert ♬ original sound - Ally
The Evolution of a Pop Storyteller
Hobert only has 12 songs in her catalogue, but the love she has accrued from a growing audience is deep and thorough. She first emerged into public awareness as Grace Abrams’ best friend and co-writer. With her debut single “Sue Me,” Hobert distinguished herself as a wholly different kind of artist. By the time she released her debut album Who’s the Clown? last August, she was well set up to expand the capacity of her big top circus beyond fans of Abrams.
At times in the Brooklyn venue, it was hard to hear her vocals as the crowd became a choir. The set wasn’t much more than 30 minutes long, but what it lacked in length it made up for in triumphant and theatrical monologues and prop work. Of the various items Hobert brought on stage with her, there was a trampoline, a barbeque lighter treated like an Olympic torch, red roses, and a fan that strategically blew Audrey’s blonde locks like she was in a soap opera.
@audreyhobertworld THIS WAS EVERYTHINGGG #audreyhobert #tour #nyc ♬ original sound - audreywethair
Narrative and Catharsis
The gags were seasoning for the matter at hand, which was ultimately Hobert’s storytelling. Hobert, whose background is in playwriting and screenplays, has a strong intuition for narrative and momentum. Her songs feel like tight sitcom episodes, with tension and resolution. It even has a laugh track in all of us, as Hobert consistently offers up one-liners that beckon guffaws. The music is vulnerable, yes, but it is also reliably entertaining.
Does its crowd-pleasing quality make Hobert the titular clown of her album title? Not necessarily. In its relatability and universality, Hobert’s music renders all of us the clown. It’s not embarrassing, though, to be a jokerster in this universe. At Brooklyn Paramount, we were all in on the joke together, singing along in the collective circus.
KATSEYE Deliver High-Energy Debut on Saturday Night Live
Global pop sensation KATSEYE made their highly anticipated debut on Saturday Night Live this past weekend (September 26), serving as the musical guests for the season 52 premiere hosted by NBA star Jalen Brunson. The group delivered a polished performance, showcasing their vocal and choreographic prowess on the iconic Studio 8H stage.
Appearing as a four-piece, the group featured Daniela Avanzini, Lara Raj, Megan Skiendiel, and Yoonchae Jeung. Members Manon Bannerman and Sophia Laforteza are currently on hiatus, though the remaining quartet maintained the group’s signature high-energy stage presence.
For their first set, the group performed ‘Animal’, the lead single from their recent EP Wild. The track, which was co-written by Ed Sheeran, has already proven to be a commercial success, climbing to Number 24 on the Billboard Hot 100. The performance highlighted the group’s tight choreography and pop sensibilities.
Sophia, Megan, Daniela, Lara Raj, Yoonchae and Manon of KATSEYE at the 68th GRAMMY Awards at Crypto.com Arena on February 01, 2026 in Los Angeles, California. (Photo by Kevin Winter/Getty Images for The Recording Academy)
Watch the performance of ‘Animal’ below:
Later in the evening, the group returned to the stage to perform the more playful ‘Hootie Frutti’, another standout track from the Wild EP. Beyond their musical contributions, the members also participated in a pre-recorded comedy sketch that parodied The Debut: Dream Academy, the competition series that originally formed the group.
Watch the performance of ‘Hootie Frutti’ below:
The group is currently in the midst of their ‘WILDWORLD’ arena tour, which recently concluded its European leg. As they continue to navigate their rapid rise in the music industry, their Saturday Night Live appearance marks a significant milestone in their career, further cementing their status as a global pop force.
Rhea Raj is here for South Asia’s global domination
When Rhea Raj calls in from her home in Los Angeles, a week has passed since the news officially dropped that the nascent popstar inked a joint venture with HYBE America, Republic Records, and 5 Junction Management. The deal—which bears resemblance to the HYBE x Geffen contract that formed her younger sister Lara’s multinational girl group KATSEYE—has been a long time coming, she says.
“I think about the timeline of my life so much,” she adds. “Where I’m at right now feels like all the stars have aligned themselves in a way that I always hoped they would. I couldn’t have been better poised for it than I am right now.”
Courtesy of HYBE/RepublicEven though many have discovered Raj in the past few years, the singer has been pursuing superstardom for a decade. Her first parlay with the spotlight was as a contestant on season 15 of American Idol in 2016. In the last few years she has bubbled up on her own through two album releases and a slew of confident and slinky capital-P pop singles like 2022's "Devil In A Dress." But only now, she says, does she feel like she has the tools to finally be able to build the full extent of her dreams. “For the first time in my life, I’m creating music and visuals of my next project from the most genuine, innocent, childlike space I’ve ever been in before,” she says.
A New Chapter with Industry Titans
Reflecting on her journey, Raj notes that her path to this moment was paved by years of independent hustle. After moving from New York to Los Angeles five years ago, she focused on writing and producing for herself and others. A pivotal moment came when she reconnected with her manager, Anjula Acharia—the powerhouse behind Priyanka Chopra. “She’s our it-girl icon who came from India and did her thing in the U.S.,” Raj explains. With Acharia’s guidance, Raj secured meetings with Republic Records founder Monte Lipman and HYBE America’s CEO Isaac Lee, effectively assembling what she calls her “Avengers” team.
Courtesy of HYPE/Republic
Championing South Asian Representation
For Raj, this career milestone is about more than just personal success; it is about visibility. Growing up as an Indian-American, she balanced her love for classical Indian dance with a deep appreciation for Western pop icons like Britney Spears and Rihanna. “Growing up, I didn’t see people from India or South Asian artists on big stages,” she says. “I hope that by signing with a big label, I can reach more people and versions of little Rhea. I want them to see all the things that I’ll do over the course of my life as an artist and think, ‘I can do this too.’”
It’s so crazy to me that when you see women in general, but especially a woman of color, breaking boundaries, people always want to find a way to undermine how someone got there.
Addressing the inevitable online criticism regarding her rapid rise and industry connections, Raj remains focused on her craft. She chooses to ignore the noise, preferring to let her work speak for itself. Looking ahead, she is excited about the prospect of collaborating with her sister, Lara, and continuing to turn her personal experiences—including the challenges of her early career—into art. “I’m going to use all of the fear, sadness, and pain and continue turning them into art,” she concludes. “That’s the beauty of life.”
Miley Cyrus Hits the Limit of Reinvention on ‘Bass Persuades’
Miley Cyrus is in love again. On the former child star’s tenth studio album, Bass Persuades, Miley (who now goes by just her first name) churns out ballads and dance-rock with driving beats. If you’re wondering if being in love and becoming stable can still make for great music, her new record isn’t a great case study.
The cover of Miley's Bass Persuades.Mert AlasLike the Queen of Pop Madonna, Cyrus has always been a queen of reinvention—shedding her Hannah Montana persona for rap and EDM on Bangerz (2013), shifting to stripped, stoner ballads on Dead Petz (2015), country-pop on Younger Now (2017), grunge-rock on Plastic Hearts (2020), before finally settling on more traditional pop on her last two records Endless Summer Vacation (2023) and Something Beautiful (2025).
Bass Persuades lies somewhere between the radio-friendly pop of “Flowers” and the edge of “Midnight Sky.” The lead single attempts to use spoken word and grim synths to make an appeal to Gen Z: it’s time to party. The opening of the record suggests a far more punchy outing from Miley than what she ultimately delivers. The title track is a confused version of Madonna’s “Danceteria” where Miley wishes the kids still wanted to dance, but the “bass persuades.” She lists the dangers of modernity: “Candy’s cut with fentanyl,” “paving over pastures ‘cause horses are gone,” and the kids don’t have MTV, but we should “go analog.” It’s catchy, but it’s more of a mouthful than an anthem like Madonna’s “Music” or “Dance Till The World Ends”—failing to sound at ease on the dance floor. The second song, “Different Religion” featuring Model/Actriz, is one of the standouts on the album, cohering far more than the messy antics of the title track.
From there, it’s mostly downhill with a series of generic ballads and bizarre skits staged to simulate the sexiness of the club. But she’s sober now. She stopped smoking weed in 2017 and stopped drinking in 2020, but sobriety’s effects seem to have crested in Bass Persuades and its surrounding promo cycle. The woo-woo side of Miley doesn’t appear as much, other than in clichés about love and truth. There’s less silliness, here, from the woman who used to sing about her acrobatic prowess during sex on “Handstand” and getting high with her pet blowfish on Dead Petz.
Miley doesn’t seem so sure what she wants to say or what’s specific about her vision. She tries to turn the experience of a stable relationship into a moving experience, but songs like “Orbit” and “REDLIGHTS”—mid-tempo, mid-2000s pop—could be sung by almost anyone. “Snow,” a generic power pop ballad, is hardly specific even if it tries to nail down Miley’s engagement story.
There’s less silliness, here, from the woman who used to sing about her acrobatic prowess during sex on “Handstand.”
Miley’s personality comes out most on songs like the slinking “Innocent Ways,” a sexy, driving rock song about wanting to protect her sister from being corrupted. It’s far more fun than the strange duet with Andrew Wyatt of Miike Snow that features a bizarre outro. I’ve loved Miley Cyrus since her days as Hannah Montana. I knew all the words to “Start All Over” and “See You Again.” But I’ve long felt that she’s rarely found the right songwriters or image. She’s so many things: a country star, an ex-pothead, a superstar, a lover girl, and a mystic. If only she found a way to show off these different sides more often, more coherently.
Behind the Scenes: Kim Petras’s “Autobahn” Music Video
German pop sensation Kim Petras is back with another compelling visual narrative. Following the release of the deluxe edition of her album Detour, titled Detour (Rare N' Deluxe), Petras has unveiled a striking music video for the standout track “Autobahn.” The song, which explores the complexities of unrequited love, serves as a thematic companion to her previous car-centric anthem, “Jeep.”
Reflecting on the creative process, Petras describes the track as a journey through the feeling of being lost. “For 'Autobahn,' I was thinking about what it feels like when someone doesn’t want you back — like you’re walking aimlessly in the wrong direction with a broken compass,” she shared. Sonically, the track draws inspiration from early 2000s pop, featuring peppy drum beats and acid synths that evoke the spirit of Michelle Branch.
A Visual Journey Through the Autobahn
The music video, directed by Neve Abcari, captures Petras navigating a Los Angeles-based interpretation of the German highway. The aesthetic leans heavily into 2000s Euro-fashion, with a notable nod to her heritage as she dons traditional Gretel-style German attire. This visual storytelling complements her recent, more candid explorations of her upbringing and her transition to independent artistry.
To provide a deeper look into the production, Petras shared a series of exclusive behind-the-scenes photos from the shoot.
BTS of Kim Petras's "Autobahn" music video
"Blue light therapy / into the zone vibes / icy blue everything" — Kim PetrasCourtesy of Kim Petras 
"Btw did u know im German"Courtesy of Kim Petras 
"Walking into oncoming traffic <3"Courtesy of Kim Petras
From icy blue lighting setups to moments of playful vulnerability, the photos highlight the collaborative energy on set. Petras noted, “Yes I was really on the cement,” emphasizing the hands-on nature of the production. As she continues to evolve her sound and visual identity, this latest project stands as a testament to her commitment to authentic, high-concept pop artistry.
Listen to Detour (RARE N' DELUXE) today and stay tuned for more updates on Kim Petras.
no na Preview ‘Island Girl’ with Cinematic Short Film
The Indonesian girl group no na is inviting fans into the vibrant, sonic world of their upcoming debut album, Island Girl, which is set for release on September 18. To mark the occasion, the group has unveiled a 13-minute short film titled “speaker freaker (the long song),” providing a cinematic preview of the project.
The ambitious visual project features snippets from eight tracks off the album, including previously released singles “rollerblade” and “work.” Shot on location across Indonesia—specifically in the bustling urban centers of Jakarta and Yogyakarta—the film captures the country’s stunning coastal landscapes and energetic city life. Musically, the previewed tracks lean into a 2000s-inspired aesthetic, blending Detroit-style Ghettotech with the rhythmic, propulsive influence of traditional Indonesian gamelan.
“‘speaker freaker (the long song)’ is our fun little nod to mixtapes from the ’90s and early 2000s,” the group shared in a statement. “We loved the idea of taking people through the different tracks on Island Girl almost like they’re listening to a mixtape, and giving them a taste of the album before it’s fully out.”
The group, comprised of members Baila, Christy, Esther, and Shaz, described the filming process as an “island girl road trip.” They emphasized that the visual component was essential for grounding the album in their cultural identity. “It was really important for us to bring that Indonesian pride into the visual world of the album and share where we come from,” they noted. “We wanted the introduction to Island Girl to feel fun, playful, and a little unexpected.”
Since the viral success of their January single “work,” the group has rapidly ascended as global representatives of a new pop subgenre they call Island Pop. With Island Girl arriving later this month, the short film serves as a bold, non-traditional introduction to their evolving sound.
Miley Cyrus Returns with Club-Ready Single “Bass Persuades”
Miley Cyrus has officially returned to the spotlight, sharing the title track from her highly anticipated upcoming album, Bass Persuades. Set for release on September 18, the new single arrives alongside a choreo-heavy music video directed by Mert Alas, signaling a bold new chapter for the artist.
Throughout her expansive career, Miley has seamlessly navigated genres ranging from rock and country to hip-hop and pure pop. With this latest project, she appears to be leaning into a darker, industrial-pop aesthetic. The album is expected to feature collaborations with notable artists, including the NYC-based rock quartet Model/Actriz and Andrew Wyatt of the Swedish pop-rock trio Miike Snow.
The track itself captures the intensity of a night out, with Miley singing about "surrendering to the night" amidst a dense, atmospheric production. The accompanying video mirrors these themes, featuring the artist performing in an austere, nighttime setting surrounded by leather-clad dancers.
In addition to the new music, Miley has announced her return to the stage with two exclusive shows at the Hollywood Bowl this October. Tickets for the performances will be available through an American Express presale beginning Tuesday, September 8, at 10 a.m. PST, with a general on-sale following on Thursday, September 10.
Chxrry is the Whole Show: A Review of The Ego Tour
Baby’s All Right was simply too small for the energy Chxrry brought to the stage. As fans packed into the venue, it became clear that the Canadian singer-songwriter has firmly established herself at the center of pop girl conversations. Following the release of U, Me & My Ego, which masterfully blends synthpop, rage, and R&B, Chxrry has proven that The Ego Tour is a masterclass in performance.
Whatever the opposite of an industry plant is, that’s how The Ego Tour feels. When she emerged in front of the crowd at 8:15 p.m., Chxrry performed with minimal artifice, armed only with a microphone and a striking latex ensemble. The audience was fully engaged, singing along to every track. Even when navigating the absence of guest features, such as during a performance of “Badness,” the crowd filled the void, rapping every word of the verse before the artist herself, Cash Cobain, made a surprise appearance for an encore.
A Polished Evolution
The product of dedicated studio sessions with producer Believve, U, Me & My Ego represents a significant leap in quality from Chxrry’s earlier EPs. While tracks like “Blockstar” and “Bottles & Lights” were clearly designed to resonate in a live setting, the show also highlighted the emotional depth of her slower cuts. Collective renditions of “Bible” and “Boring” provided a sense of catharsis, proving that her music resonates deeply with listeners who map their own experiences onto her sonic landscapes.
For the live show, Chxrry reorganized the album’s tracklist to keep the audience on their toes. By moving from the defiant “Blockstar” to the self-assured “Main Character,” she weaves an underdog-to-star narrative that feels both personal and ambitious. As she noted in our previous interview, the album title is a reflection of her identity as both a person and an artist.
The Power of Presence
Despite some online discourse regarding the scale of her stage design, Chxrry is undeniably delivering a pop spectacle. In an era where many artists rely on heavy production, there is something refreshing and thrilling about a star who needs nothing more than her own presence to command a room. As she continues her tour, including a highly anticipated stop at Bowery Ballroom, it is evident that Chxrry is not just a rising star—she is the whole show.
underscores’s “Unlimited Love” Showcases Her Sonic Evolution
Madonna, Britney Spears, SOPHIE, and Charli xcx are just a few of the influences that informed underscores' latest album U. Some of those influences I hear clearly, like on "Innuendo" where her breathy gasps, which act more like a percussive device, feel super "Toxic"-coded. Others are more ambiently dispersed, only detected through underscores' technical skill or melodic instincts.
On her new song "Unlimited Love," a scrapped cut from U, however, her devotion to her musical heroes is right there, out in the open. The track opens on what sounds like a sample from Madonna's "Vogue" before diving into the electronic depths of metallic clashes and walloping smacks—chaos that could live right alongside SOPHIE's "Ponyboy." It is a scintillating and textural delight and one of the boldest and most expansive examples of underscores' greatest talent: taking sounds that are familiar and twisting them into completely new musical sentences.
Like the rest of U, "Unlimited Love" expands on underscores' vision for pop music that's boundless, euphoric, and filled to the brim with potential. Her production is the star: sharp, angular, and filled with interesting ideas like zippy, high-pitched squeaks and a disco-y guitar breakdown. The stupidly addictive, 3D-sounding smack that animates the entire track is the song's backbone. It sounds like a clobber to the face or the sonic translation of getting slammed with a lust so fierce it's violent. One can't separate that sound from SOPHIE, but in underscores' hands, its severity becomes something more playful.
Lyrically, underscores sings about love in her signature slippery and coy way, somehow coming across as funny, sincere, and sympathetic at the same time. "I just want a bit of your unlimited love supply," she sings, before adding her conditions: "No, I don’t want you loving me / I just want your capacity / I’m not a real lover, baby."
Despite the clear references on "Unlimited Love," I finish each listen feeling like I heard something new. Only underscores could think to mash all of these elements together and will the creation of something so ostentatious and maximalist. If her love is like music, it really is unlimited.
KATSEYE’s ‘WILD’ Debuts at No. 1, Marking Historic Girl Group Success
KATSEYE is reaching new heights. The global girl group's new EP WILD debuted at No. 1 on the Billboard 200, notching 170,000 equivalent album sales in the United States in the week ending August 20, according to Billboard who collected the data from Luminate.
KATSEYE by Julian Song.
The strong debut comes after a slew of major girl group debuts from recent years, like BLACKPINK Born Pink in 2022, NewJeans's 2023 Get Up, and TWICE's With YOU-th in 2024. WILD's eye-popping sales were the largest debut since 2008 when Danity Kane's Welcome to the Dollhouse sold 236,000 copies.
WILD's sales were largely powered by its staggering 145,000 pure album sales — itself buoyed by over 30 CD and vinyl variants which also included collectibles and bonus tracks. The project's streaming equivalent albums (SEA) was 24,500.
The notable numbers come amidst continued uncertainty regarding the status of KATSEYE's members. Manon Bannerman has been on hiatus since February 2026 with few updates since regarding her potential return to, or exit from, the group. She was included throughout KATSEYEs recently released documentary KATSEYE: Wild Hearts. More recently, fellow member Sophia Laforteza and KATSEYE announced that Laforteza would be "taking dedicated time for extended rest and ongoing care to ensure a full recovery" via a post on Weverse. Laforteza also shared a statement on her own social media account: "Making this decision wasn’t easy, but I’m learning that health has to come first. I’m realizing that if I don’t take care of my mind and body now, I won’t be able to keep doing what I love the most for so long.”
Despite these changes, KATSEYE will still be embarking on their sold out arena tour, which kicks off September 1.
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