Demetri Martin released a new Netflix special on Tuesday, the first of two to be released on the streamer this year. Before it had been out for 24 hours, I watched it twice.
For those who knew me 10-15 years ago, this hardly comes as a shock. My family enjoyed his comedy when I was is teenager. I believe we were eating Ben & Jerry’s pints for dinner and watching Demetri when guys from a neighboring school came over and asked us (the twins) to homecoming. (My parents were cool and once in a while, we got to eat ice cream for dinner. What of it?) It’s no surprise that lines of his dry comedy are what we both chose as our senior quotes in the yearbook. My sister even surprised me one year with tickets to his show for our birthday.
I didn’t realize until now how much I was missing Demetri’s unique brand of comedy. Sure, I have always followed him on social media, but he’s not one of those comedians who lives on his page either. He has built a seemingly quiet life with his wife and two children in California, releasing books, acting, writing, producing, and doing voiceover work between comedy gigs. Yes, we got a well-formed special every few years (2004, 2007, 2012, 2015, 2018), but we have been left to clips, quirky one-liners, and small peeks into his personality since the last special – Demetri Martin: The Overthinker – released in 2018.
So when Demetri Martin: Demetri Deconstructed popped up on my television, I waited mere hours to enjoy it with my parents. And then I went upstairs and watched it again.
First of all, the effort he puts into his intros is actually admirable. If you’re wondering about his use of black and white in his latest special, it’s explained before he even takes the stage. He uses his voiceover talents to help the audience identify his thought process, recognize – and relate to – his idiosyncracies, and make layered jokes. It seems to allow him a structured vulnerability, the affinity for “off-handed” comments that are planned, but well-timed comedically.
Demetri’s choice to incorporate drawing and other forms of art he enjoys in his set is – and has always been – bar none. Sure, iconic comedians have brought additional talents to the stage. (Acts like Bo Burnham, TIm Minchin, and others enjoy singing during their comedy acts. I’ll be watching Steven Martin’s doc soon, and have always admired his picking talents.) Demetri has always drawn representations of his jokes. His method includes charts, graphs, and tables, not-so-subtle reminders that his comedy is very unique.
I have to admit, I didn’t see subpar ventriloquy as the new trick in Demetri’s toolbelt I would enjoy. His spot-on impersonation of a demon from hell – and I have to specify that it is not the devil – was impactful because of its silliness and relatability.
Demetri is also known for using music in impactful moments. It is common knowledge/widely thought that he would play guitar and other musical elements throughout his sets so that executives at Comedy Central and elsewhere couldn’t edit his material to their liking for public airing. In this way, he kept more of his artistic integrity on jokes that were always widely family-friendly. Now, the threat of artistic integrity might not exist as much for Martin. But he does incorporate fun jazz beats throughout his set, giving impact to the punchlines and guiding the audience into a more relaxed and intimate-feeling environment.
While I don’t want to give away any big pieces of his set, I will say that this special commands your full attention. Jokes about Bitcoin, tic tac toe (brilliant, in case anyone is wondering), crowd work, self-deprecation, industrial strength scented trash bags, logistics, and well-known phrases can be expected. Lighting is artfully used to enhance his dramatic readings of hilarious, “mysterious” thoughts. And he accomplishes all of this while looking like – and having the energy of – someone much younger than himself.
If you love curious, intricate, silly humor that you can quote around (most of) your family, Demetri Deconstructed will accomplish this for you. Check it out on Netflix now.
If you’ve stumbled upon Liz Miele‘s latest comedy masterpiece on Netflix and are expecting a horror podcast to come to life, you might be reaching from – or into – the wrong genre. As horrific as some of her personal anecdotes are to people, I’m sure, Miele finds so much humor in her everyday life that she is able to make even a laundry mishap sound edgy and crucial to a set.
In a 2012 interview with Miele, I asked her what up-and-coming comedians she was most excited about. She rattled off a list of people she worked with. This list included Carmen Lynch, Nate Bargatze, Dan Soder, Rory Scovel, Ryan Conner, Jordan Carlos, Jermaine Fowler, Kelly MacFarland, and Myq Kaplan. Before many of them hit their true stride, she was cheering them on. I’m ready to watch each of them, in turn, champion her new special, as she has stayed so true to herself in her brand of comedy, yet exponentially elevated with each new comedy routine and standup taping.
What I love about a comedian so well-versed in their craft is how they can easily weave their inspiration into their work. Liz has effortlessly given space to her parents and their shared profession, her siblings and their mutual impact on each other’s lives, and all of the people and beings that are meaningful to her at this stage in her life.
Just when you think there is an established rhythm of jokes about her family dynamic interwoven with insightful commentary and the occasional birth order trope, Miele returns to cat-heavy storytelling. While this could otherwise drastically affect the momentum of a standup comedian’s set, it actually just re-confirms her status as a cat person. (Which I did note in my 2012 interview with: “Fair warning: She has a thing for cats.”) It’s a reminder – hilariously placed – of the single-mindedness most animal “parents” suffer from at times, and pulls in a demographic (animal lovers, cat people) that can relate to this stage work.
But the genius in the “cat work” is that she uses stories about her cats to propel her singledom (and willingness to date, change, etc.) into the forefront of the conversation. This expertly ties back to her modern dating jokes earlier in the set.
If you hang on through the credits – well earned, as they are – you will see the results of Miele’s intricate storytelling, a true testament to her authenticity. “I wrote an 11-minute joke about this whole process.”
Invested, talented, and deeply funny. Those are my takeaways on Miele’s character at this stage, with the release of Murder Sheets. Check it out now on Youtube.
On Friday, September 23rd, the rock aficionados of Kansas City fled to the Midland Theatre in search of a beauty they hadn’t witnessed in years. The Gaslight Anthem recently announced their full-time status together again after a 4-year tour hiatus. Just two weeks into this leg of the tour, they almost immediately had to cancel a show. It had been scheduled earlier in the week in Denver, and openers Tigers Jaw were able to finagle a last-minute headlining set for all ticketholders to the original show to attend in addition to the reschedule.
While they didn’t want to postpone the show altogether, lead singer Brian Fallon had to keep himself and the fans safe and encourage his healing while he dealt with some form of sickness. (Not Covid, but he was a big congested.) Fallon had quite a bit to say about the fan reaction to that decision, which was entirely supported by his empathetic – and emphatic – fans in the heart of America. He even took time during the set to explain that – while he wasn’t at 100% quite yet – he was doing his absolute best on stage because he missed this crowd in this particular city.
Whether it was pandering or not, his stories were sincere, the joy on everyone’s faces was moving, and the night was a blissful continuance of a band we have all come to know and love.
Who was a band or artist you played on repeat in your adolescence? Were you band or genre-loyal in your teens? Did you cling to lyrics, composition, or a specific type of energy to help inspire you and get you through the insanity of high school? Chances are, many millennials are getting into their feels thinking about emo and emo-adjacent music right now. A genre known for hosting nasally voices, lyrics that utilize a person’s entire vocabulary, titles that are longer than most novels, and theatrics that harkened a bit of darkness. While Panic! at The Disco absolutely belongs in this genre, lead singer (and now solo artist) Brendon Urie’s voice didn’t quite belong in the “nasally” category, as was the case for a handful of others who dominated the genre in the aughts.
2006 brought us “I Write Sins Not Tragedies,” an edgy track that immediately caught my attention, with a music video that utilized more stage makeup than a three-ring circus. In the words of Blades of Glory’s Chazz Michael Michaels, “it’s provocative.” Emo kids rejoiced as they saw themselves–their hair, at the very least–in the music videos and performances that ensued over the years from Panic. Even with the band’s evolution – from a band to a (mostly) solo act, with phenomenal cohorts, session musicians, and tour players, and as they’ve dipped their toes into different genres and sounds – their fanbase has held strong.
February of 2019 was the last time Urie made an appearance in the Kansas City metropolitan area. Aside from a less crowded atmosphere on the evening of September 13th, the crowd was no less invigorated and was loud enough to cause a visceral reaction from the entertainer multiple times. He looked shocked, he noted that he was impressed, and the pure joy on his face could be felt all the way “in the back back back back.”
Panic! at The Disco has always done its best to incorporate a wide range of tracks from various titles in every single one of their shows. While the Viva Las Vengeance tour was pretty meticulously planned – from pyrotechnics to sound effects, lighting and confetti – there is still wiggle room for a variety of songs to be interspersed depending on the date. Our stop seemed particularly magical, as the crowd sang along to the following tracks.
The tour itself – as high energy and incredible as the performance has been – has experienced some setbacks over the first few weeks. As most may know by now, two dates were postponed because of Covid, and the night after they were in Kansas City, there was a small fire incident on stage in Minnesota. And still, Brendon moves on with the energy and enthusiasm that we have come to know and love him for.
August 13th was a Saturday night unlike any I have seen in a very long time. Approaching the outside of T-Mobile Center Arena in Kansas City, MO, you would have no idea by the soothing, music-filled area outside the gates that you were entering an almost-sold-out show in a multi-thousand-seat arena. an enigmatic atmosphere. Those in attendance had been waiting to see The Lumineers since the show was announced prior to the pandemic setting in.
The 25-song set included crowd favorites like “Ho Hey,” “Dead Sea,” “Ophelia,” and “Stubborn Love.” Their spin on “You Can’t Always Get What You Want” masterfully blended original track “Leader of the Landslide” into an easily digestible and beautiful new work of art. One of the most notable tracks, however, was their Petty cover “Walls (Circus)”, which was performed with their openers, Gregory Alan Isakov and Daniel Rodriguez.
Much as their name suggests, The Lumineers’ set design left the crowd ensconced in the warm glow of the lights. Their multi-runway stage gave the show a dynamic we have not had the privilege of seeing in the past. While each member of the band is a multi-instrumentalist and talented as all get out, we are more familiar with a stage presence that keeps them all solitary, in a straight line with equal lighting for the audience to enjoy. For this show, we witnessed climbing on pianos, jumping from one part of the stage to the next, and dancing under the most magical disco ball the crowd has ever seen. Add the flurry of confetti mid-show to the mix and you’ve got yourself a kaleidoscope snow globe experience.
Before the pandemic, it truly was all about the music. Now, it seems to be about creating a joyful atmosphere. Sure, the music holds as the firm base and is what gets the audience in the doors. But this band has taken their set design to a level that makes everyone — whether you are in the VIP pit or in the nosebleeds — feel as though they are snuggled with a blanket under starry skies as summer fades.
On March 18th at 1 pm, Isla De Caras took the International Day Stage by storm. In celebration of SXSW 2022, the Argentinian-based outfit brought their special blend of psych-rock to America, and we absolutely reveled in it. (If you need a track to set a particularly blissful mood, look into their music catalog. You will not regret it.)
