People come to my shows and know that they're going to hear about what's going on in the world - what's happening at the moment. My material is as new as anything on the dinner table.
When I began doing stand-up, it took me a long time to get an hour's worth of material together.
I don't take anything from the podcast and bring it to my act, because I feel like that's been burned, unless I feel like I can really develop it beyond two or three jumps beyond what I said on the podcast.
I talk to my dad all the time, he's more like my buddy than my father, and he's not happy that I use him in my act. But I tell him, I have to get something out of this.
I don't think there's hardly a comic out there that does clean material all the way around. There's a couple of guys that are clean, but I'm not one of them.
I have such a great band. We had played all this material on the road. I just wanted to let it fly.
Ninety percent of my material is made on stage, but I feel like you're missing something by abandoning sitting down to write entirely.
Anyone who's seen my specials knows I don't put out the same stuff twice.
All of the material for 'The Fine Line' was created via improvisation with my partner, but not in front of an audience. We'd continue to refine it in front of an audience based on their responses until it was set and scripted.
In my Comedy Club sets, I just work on what is fresh and try to build that show as long as I can. I don't like to do burnt material on stage. Even though my crowd loves to hear me do old stuff, I don't like to do old stuff.
