Audrey Hobert’s ‘The Staircase to Stardom Tour’: First 2026 hometown show in Brooklyn

By Andre Paras
Managing Editor

“I went to New York / ‘Cause a man in a suit told me / ‘You’re gonna be a star,’” Audrey Hobert sings on the track “Phoebe” from her 2025 album “Who’s the Clown?” Well, to whomever this man is that seemingly predicted the future, Hobert looks to make that come true as she begins the final dates of “The Staircase to Stardom Tour” at the Brooklyn Paramount in New York City.

“The Staircase to Stardom Tour” isn’t your conventional pop tour. For starters, Hobert’s discography consists of a measly 12 songs from her debut LP, clocking in at a total of 34 minutes. So really her show could not be any longer, unless she threw some curveballs: playing unreleased songs, covers or bringing out special guests like contemporaries Olivia Rodrigo, Chappell Roan and Sabrina Carpenter have during their respective come-ups.

To some people, this might seem like a small disappointment. To spend a shift’s worth of hard-earned cash for a 45-minute set without any openers, though occasionally she brings out a local artist. If it helps maintain the momentum and keeps those 13 songs sounding pristine every night, so be it. All killer, no filler it is. That’s a big disclaimer fans should know before going.

Before Hobert even hits the stage, she brings out a waving mannequin, running in and out and saying a quick “hi” to screaming fans, signifying the show’s start coming soon. In the meantime, fans sing along together to a random mix of pop fun with a Gen-Z appeal, ranging from Charli XCX’s “Von dutch” to Drake’s “Over.”

The show begins with Hobert walking out on what appears to be circus peg stilts, with a kid's nose-and-glasses disguise set on her face. Her band takes the stage, instruments in hand. The show begins with the tongue-in-cheek double entendre “I like to touch people.”

There was an excessive wave of hands going up in the air with phones to record. Soon enough during any distinct visual moment, or song with a viral moment on social media, there’s bound to be a sea of devices in the air, to which you have to watch a star through phones at times. Although it is a bit annoying, it seems to be the default concert etiquette whenever an artist draws a younger audience, especially if they’re growing in popularity. 

It doesn't take long for concertgoers to look past the distraction and lean into the performance, even as phones continue to dominate a good portion of the night. Hobert quickly follows up with hits like “Drive,” “Wet Hair,” and “Don’t Go Back to His Ass,” and almost imperceptibly, the set hits the one-quarter mark. 

Regardless, Hobert was grateful to be back: “New York, I’ve been waiting for this,” when talking about this three-night, sold-out run of shows. The house lights briefly came on as Hobert addressed the crowd, grateful to see many smiling faces and fans. Notably, this was her first headlining show in New York City since December 2025 at the Music Hall of Williamsburg.

Banter before and after select songs helped get this show’s runtime up a bit. The popstar gives a Taylor Swift-esque song intro with an informal talk right to the crowd introducing what “Bowling alley” is about. The description she gave was about what Hobert does best in her songwriting, using comedy as a crutch for vulnerability and expressing ideas true “picture perfect” popstars wouldn’t dare to in their music.

Inspired by her brother, fellow singer-songwriter Malcolm Todd, another fun bit Hobert incorporates is having the crowd pause between songs, turn to someone nearby, and introduce themselves. The emphasis on being present was key throughout the night. Hobert is transparent that it’s a short show, but despite this phones persevered at times.

Fortunately for fans there’s a treat Hobert does traditionally at every show, and that’s performing her debut single and most popular song “Sue me” twice, once with phones present, and once without. As expected, the no-phone policy proved to be a tough ask for the audience. Hobert opened the song calling out people in the crowd pointing to put them down, but of course she couldn’t get everyone.

With an oversaturated scene of nepo-babies in entertainment, the facade doesn’t last long for those putting out mediocre art. At least Hobart’s access to resources translates into writing quality and catchy songs with something new to say for someone of her size and platform in the genre, and that’s clearly making a connection with her avid audience. 

There’s a lot of self-deprecating humor about being a social reject growing up, not having the “conventionally attractive” looks perhaps in her early life and the effect that’s left on her and her music. Even if leaning into it heavily for the persona, it’s refreshing to hear more confessional voices in pop music, and seeing a model for the youth that’s more honest and realistic.

“The Staircase to Stardom Tour” moves to the Austin City Limits Music Festival next.