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Saturday 16 March 2024

Reggie Watts

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Reggie Watts

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Reggie Watts is an internationally renowned Musician/Comedian/Writer/Actor who currently stars as the bandleader on CBS’s The Late Late Show with James Corden. Using his formidable voice, looping pedals, and his vast imagination, Watts blends and blurs the lines between music and comedy, wowing audiences with performances that are 100% improvised. Watts’ first Netflix special Spatial released to massive critical acclaim, with the New York Times calling it “a giddy rush of escapist nonsense” and dubbing Watts “the most influential absurdist in comedy today.” The A.V. Club described Spatial as “signature Watts, meaning it’s alternately exhilarating, silly, exhausting and transcendent,” and Exclaim! Magazine called his performance “engaging, absurd, thoughtful and, most importantly, wholly unpredictable.” As a solo performer, Watts brand of musical/comedy fusion has led to sold out headlining tours in the U.S. and Europe, including festivals such as Bonnaroo, SXSW, Bumbershoot, Just For Laughs, Pemberton and more. Last year, Watts released his own content app called,WattsApp, a techno-savvy look into his life, work, and techno junk drawer. WattsApp has all original content including a show called, Droneversations where he interviews guests while it’s filmed by drones along with other fun content. In 2010, Watts released his debut comedy special, Why Shit So Crazy? on Comedy Central Records, and is now available to stream on Netflix. Why Shit So Crazy?featured Watts in live performances at New York venues such as Galapagos, The Bellhouse, and Le Poisson Rouge, bookended with brief sketches and music videos. Later that year, at the invitation of Jack White, Watts recorded Reggie Watts: Live at Third Man Records which was released in limited edition vinyl. In 2012, Watts recorded his second comedy special, Reggie Watts: A Live At Central Park, which was released by Comedy Central. Watts was born in Germany, raised in Montana, and currently resides in Los Angeles

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Aspen Laugh Festival – Reggie Watts

February 24 @ 7:30 pm.

Get ready for a mind-bending finale as Reggie Watts, the internationally renowned Musician/Comedian/Writer/Actor, takes center stage to close the Aspen Laugh Festival 2024. Widely recognized for his role as the bandleader on CBS’s “The Late Late Show with James Corden,” Watts seamlessly blurs the lines between music and comedy, delivering 100% improvised performances that leave audiences in awe.

Recently making waves as the DJ at the 2021 Emmy Awards, Watts continues to push boundaries. His first Netflix special, “Spatial,” received massive critical acclaim, with The New York Times hailing it as “a giddy rush of escapist nonsense,” and dubbing Watts “the most influential absurdist in comedy today.” A solo performer with a unique musical/comedy fusion, Watts has led sold-out headlining tours in the U.S. and Europe, gracing stages at renowned festivals such as Bonnaroo, SXSW, and Just For Laughs.

In 2020, Watts launched his content app, WattsApp, providing a techno-savvy glimpse into his life and work. The app features original content, including the show “Droneversations,” where he interviews guests filmed by drones. Watts’ comedic journey began with his debut special, “Why Shit So Crazy?” on Comedy Central Records, followed by the critically acclaimed “Reggie Watts: A Live At Central Park.” His memoir, “Great Falls, MT,” published by Penguin’s Tiny Reparations imprint, adds another dimension to Watts’ multifaceted career.

Born in Germany, raised in Montana, and currently residing in Los Angeles, Reggie Watts promises a finale that transcends the ordinary—a fitting end to the laughter-filled celebration at the Aspen Laugh Festival.

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Reggie Watts

Reggie Watts is an internationally renowned Musician/Comedian/Writer/Actor who currently stars as the bandleader on CBS’s The Late Late Show with James Corden. Using his formidable voice, looping pedals, and his vast imagination, Watts blends and blurs the lines between music and comedy, wowing audiences with performances that are 100% improvised. 

He was recently the DJ at the 2021 Emmy Awards, which saw a 15% ratings boost from 2020.    Watts’ first Netflix special Spatial released to massive critical acclaim, with the New York Times calling it “a giddy rush of escapist nonsense” and dubbing Watts “the most influential absurdist in comedy today.” The A.V. Club described Spatial as “signature Watts, meaning it’s alternately exhilarating, silly, exhausting and transcendent,” and Exclaim! Magazine called his performance “engaging, absurd, thoughtful and, most importantly, wholly unpredictable.”   As a solo performer, Watts brand of musical/comedy fusion has led to sold out headlining tours in the U.S. and Europe, including festivals such as Bonnaroo, SXSW, Bumbershoot, Just For Laughs, Pemberton and more.   In 2020, Watts released his own content app called, WattsApp, a techno-savvy look into his life, work, and techno junk drawer. WattsApp has all original content including a show called, Droneversations where he interviews guests while it’s filmed by drones along with other fun content.   In 2010, Watts released his debut comedy special, Why Shit So Crazy? on Comedy Central Records, and is now available to stream on Netflix. Why Shit So Crazy?featured Watts in live performances at New York venues such as Galapagos, The Bellhouse, and Le Poisson Rouge, bookended with brief sketches and music videos. Later that year, at the invitation of Jack White, Watts recorded Reggie Watts: Live at Third Man Records which was released in limited edition vinyl. In 2012, Watts recorded his second comedy special, Reggie Watts: A Live At Central Park, which was released by Comedy Central.   Reggie’s memoir, Great Falls, MT will be published on October 17th 2023 by Penguin’s highly curated Tiny Reparations imprint.

Watts was born in Germany, raised in Montana, and currently resides in Los Angeles.

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The Mad Liberationist

Of all the challenges Conan O’Brien faces on his nationwide “Legally Prohibited From Being Funny on Television” tour (translating his talk-show aesthetic into a live comedy performance; avoiding coming off as a sore loser), the biggest challenge might be self-inflicted: having to step onstage every night in the wake of his opening act, Reggie Watts. Watts, a star of New York’s alt-comedy scene, is the kind of comedian who tends to close shows. His sets are loud, disorienting bouts of improvised anti-comedy. He is, in many ways, the opposite of O’Brien, as both a performer and a being. O’Brien is gangly and pale; Watts is chubby and dark. O’Brien has an ironic post– Tonight Show beard and that signature little flip of orange hair; Watts has a huge asymmetrical Afro that blends into a beard as thick and dark as good-quality garden loam. O’Brien approaches comedy, famously, as a writer, spending hours preparing each moment onstage. Watts improvises his act so thoroughly that, if a hard-core fan were ever to request a favorite old bit, Watts would probably have no idea what he was talking about. Over the past seventeen years, Conan has established himself as one of America’s most stable comic voices. Watts builds his comedy out of radical instability: He switches so fluidly among different accents and personae (soprano, baritone, Californian, Cockney) that it’s hard to tell what the real person even sounds like. Conan, in other words, is a recognizable type of comedian: a subspecies of the genus Letterman. Watts is like a character Conan might have invented—half-man, half-astral-funk Muppet.

Their partnership, however, is neatly symbiotic. Watts lends Conan underground credibility while Conan gives Watts national exposure—he’s probably the highest-profile opening act in the country right now. And it seems to be working out. Through its first month and a half, Conan’s tour has drawn rave reviews, and Watts has inspired thousands of delightedly surprised testimonials on YouTube and Twitter. He embodies the paradox of the cult star: a charismatic, powerfully original performer who probably deserves to be super-famous but whose originality disqualifies him from all the usual channels of super-fame. A fellow comedian recently called him “Black Galifianakis,” mainly because of his beard, but the affinity goes deeper. Zach Galifianakis was also an anti-comedian revered among Brooklynites before he broke out nationally as a star of The Hangover and a host of Saturday Night Live . As the Conan tour nears its end ( it hits Radio City Music Hall this week and finishes June 14 in Atlanta), we might be witnessing the birth of Reggie Watts as a national phenomenon: Galifianakis 2010.

I first saw Watts perform last March at MoMA —an unusual comedy venue, but appropriate for someone who pushes so hard against the traditional limits of the form. He was headlining a variety show in one of the museum’s small subterranean theaters, and his twenty-minute set contained as much variety as the rest of the acts combined. Its opening was unpromising: Watts walked onstage in a tight red T-shirt and suspenders and started bumbling, in a refined British accent that I took to be his natural speaking voice, through some awkward small talk. “We’ve come quite a bit of the way here already,” he said, “and we’re just getting started.” He paused. “It’s one of those years, you know? And, uh, I think a lot of us can feel—and agree—to most everything that we’re here, within ourselves, this evening … ” It took a few sentences to figure out that this aimlessness was, in fact, the performance itself. He was building, phrase by phrase, a structure of deliberately failed logic, with each piece related just enough to follow the last but not quite enough to make sense with the whole. It was gourmet word salad—a brilliantly sustained comedy filibuster. Gradually the crowd adjusted, and Watts’s pauses filled with increasing laughter. “We, more than any other time,” he continued, “and I mean this when I say this—more than any other time, we’ve been here, right now. You know?” He spoke, haltingly, about polycarbonates and the landfill system, cited fake authorities (“French and Saunders once said … ”), referred to the MoMA as the Whitney, and snuck in, out of nowhere, a near-perfect impression of Bill Cosby. Occasionally, with a straight face, he’d substitute a bizarre series of noises for a word, or his voice would cut in and out while his mouth kept moving, so it looked like the microphone was malfunctioning. It was like a seminar on public speaking gone wrong. Soon the crowd had fully acclimated, and Watts was officially killing.

The absurd monologuing was an act in itself, and most comedians would have stopped there. But Watts took things to another level. Several times during the set he broke into music—creating songs, layer by layer, using only his voice and a little machine called a loop pedal. He beat-boxed, hummed, clicked, sang, and rapped; he mixed rock, hip-hop, techno, opera, Broadway, church hymns, and soul. The nonsensical talking blended into the music, and the music blended back into the talking, with no connective thread other than that it all seemed to be emanating from the mouth hole at the approximate center of Watts’s wild halo of hair. He looked, at times, like someone suffering a seizure from an overflow of incompatible talents. By the end of his set, he was doing whatever is better than killing—double-homiciding, mass-murdering.

For the record, Watts’s natural speaking voice is pure neutral delocated middle-class American—a little higher than I expected, a little nasal. “I think that when people seek any form of self-education,” he told me, “their accent just kind of neutralizes. It gets closer to a newscaster.” We were speaking in his manager’s office in the Village, the week before he left on the Conan tour. He wore blue-and-red-striped suspenders, a gray T-shirt that read CREATIVE CAPITAL, and black jeans rolled up at the ankles. His mustache curled up inexplicably on one side. Each of his pinkie nails was long and painted—one pink, the other black.

I asked Watts how many different accents and personae he has. He said he’s not sure; it’s an unstable crew. But he estimated that he’s spent half his life speaking in a British accent, of which he has four or five main variations. Then, without prompting, he started to demonstrate them. (Talking with Watts is like watching a mellow version of his stage show.) There was an educated Londoner (“very kind of subtle”), a thick, sludgy working-class voice (“you’re trying to understand the properties of cheese, you want to put it on your biscuits”), a hyper Cockney (“let’s go out like for a pint or wha’ever, catch some o’ them birds, y’know what I mean, we could talk forevah about these birds”). He also has what he calls “European in general,” plus deliberately terrible Irish and Australian accents, sci-fi robots, a range of feminine voices, and a whole crowd of Americans: New Jersey cabbies, effeminate southern men, his grandfather from Cleveland. “They just kind of pop into my head,” he said. “It just happens. Sometimes I’ll be channeling a voice that I heard on the subway. Some of it’s just based on types of people, lifestyles. I don’t really practice at all. I’m always riffing throughout the day, cracking jokes with friends. I kind of fall into it.”

Suddenly he started speaking like a West Coast Wiccan girl, in a voice that oozed patchouli and druid crystals. “You know like the spirit world is so crazy?” he said. “Because Gaia is like a full-being sentience? And we are the stewards of it? And Shilanqua was talking to me yesterday about the burn and our responsibilities to clean up after we’ve been in camp? And base camp was 30 feet away and Trinity was like, ‘How come you didn’t bother to come to the morning temple ritual?’ ” And on and on and on and on.

Reggie Watts’s childhood seems to have been engineered to produce a comedian exactly like Reggie Watts. He was born in Germany, in 1972, to a French mother and an African-American father. His mother spoke little English, so Watts grew up fluent in French. By age 4 he’d also lived in Spain and Italy—his dad was in the Army—which means his brain’s language centers got exposed, at a crucial period, to most of the accents of Europe. (Onstage, he’ll occasionally launch into braided streams of French, Spanish, German, and Italian.) He spent the rest of his childhood in Great Falls, Montana, a place that must have seemed exotic in its mundanity. At 5 he started studying classical piano, adding yet another language—music—to his repertoire. (He studied jazz in college, and has played with several rock bands, opening for Regina Spektor, Dave Matthews Band, and the Rolling Stones.)

Because of his childhood culture-hopping, Watts says, he grew up with anthropological tendencies. He didn’t so much inhabit the world as study it. “I always tried to find the causality of why things are the way they are,” he told me. At home he’d take his toys apart. At school he’d invent backstories to explain why bullies were so mean, or he’d drive his teachers crazy by interrogating them about why they had become teachers. He became a connoisseur of what he calls “in-between” moments—times when he was immersed in a situation but could also see it from the outside. Despite his familiarity with music, for example, he found himself looking around in wonder during school orchestra practice. “Here I am in second violin section—the conductor getting up and tapping the baton,” he said. “And all these people with horsehaired wooden sticks and strings, looking at a bunch of symbols on a piece of paper. And the bass players are tall and look like their instruments, and the cellists have long hair and look like cellists. I’m sitting there like, What is this?”

Watts always felt not of this world. “For most of my life I’ve liked to pretend I live in a starship. Punching in fake codes to get into doorways that obviously are not secure.” (He makes some sci-fi door noises: Bee do do deep. Psshhhh. ) “I love that idea of living on a spaceship. Because essentially we are: a gigantic thing floating in some infinite darkness that’s running on principles that we don’t even understand.”

Onstage, Watts likes to make fun of observational comedy. He’ll slip into a low, drawling, American voice and say things like: “Women be crazy … Now here’s a scenario. A woman be, like, sittin’ down in the chair and shit? You know what I’m saying? And she might, like, get up at some point, you know? And walk out a door and some shit?” Long pause. “Know what I’m sayin’? That’s fucked up.”

But Watts’s own comedy is actually—in a unique way—hyperobservational. He notices things, the more trivial the better, and plays them for improbable laughs. It’s less a stand-up act than a public report on his decades-long ethnographic study of human behavior. “I like talking about mechanisms,” he told me. “Because it’s kind of absurd. It’s not trying to be noticed, it’s trying to be transparent.” He wrings a lot of humor, for instance, out of the way performers adjust their microphones. He’ll pick one up and start untwirling the cord from the mike stand, and then he’ll keep doing it for twenty seconds, exaggerating the motion until it turns into its own little dance. Or he’ll sit at a piano and, before singing, fall into an almost Chaplinesque struggle with his mike stand’s tension knobs. He recently got onstage after a string of more-traditional stand-up comedians and performed a silent set—moving his lips, mimicking the gestures and rhythms of stand-up, even pausing between silent jokes to wait for the crowd to laugh.

Compared to his topical contemporaries’, Watts’s comedy can seem purely absurd, derived from the world but not of the world. It’s like Richard Pryor with the human content surgically extracted. But Watts’s nonsense actually makes a strange kind of social sense; his incongruity is congruent with the development of American culture over the past ten years. It’s comedy for the Internet era: this infinite fracture that forces us to be fluent in a million discourses, and to speak them one on top of another. Watts parodies that, dropping us in and out of discussions already in progress, never relating or resolving them—showing us all what we’ve done to logic, and how silly it is. He treats knowledge wiki style, feeding the audience false information, as when he recently told a crowd in Seattle that the Space Needle was built in 1993. He assumes a ridiculous intimacy with audiences, talking to them as if they’ve grown up with him: “Do you guys remember when we went on that field trip … Remember when Brian got in trouble?”

Watts described his method to me as “culture sampling.” He picks templates, he says—a scientific lecture, a corporate report, hipster gossip—and then fills them out, off the top of his head, like Mad Libs. When I asked if he’d ever considered writing material in advance, he basically recoiled. “No. That would suck.” He talks about the process of improv in quasi-mystical terms, as a kind of spiritual jazz—a way to honor the world through mindfulness. All his ideas come, he says, from being alert to his environment and opening his mind to something he refers to as “the Source.”

“Improvising music has helped me a lot,” he said. “Music is very similar to comedy: It’s all about texture, timing, context, vocabulary, performance. When someone’s onstage doing a solo, essentially it’s the same thing as what a comedian does. They’re in the moment. They’re listening. The environment is giving you stuff constantly: a woman yelling something, an animal making a weird sound in the forest, a window being rolled up, static on a radio. Someone turns to you and says something in the same key as the radio. If you pay attention to the world, it’s an amazing place. If you don’t, it’s whatever you think it is.” As the world will presumably discover, now that it’s beginning to pay attention to Reggie Watts.

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Interview with Flight Facilities – The New Album, The Tour and Reggie Watts

Flight Facilites. It’s a name you’ve come to know as synonymous with good music, excellent remixes and collaborations and more simply put, hits. It has always seemed that Flight Facilities couldn’t miss with their music, releasing top-charting single after single, and with the forthcoming release of their album, the anticipation is high for a full collection of music we will all surely and undoubtedly love.

In advance of their new album, the duo have released a music video  (below) of the first track on the album called “Two Bodies”, featuring the vocal talents of collaborator Emma Louise. The album will be available October 27th and coincide with a world tour including cities in Australia, Europe and the US. You can find out more info about the album and tour here .

Luckily, the fun doesn’t stop with this video, we’ve actually had an opportunity to speak with Flight Facilities and get their take on their tour, the new album and more.

Interview with Flight Facilities

How does if feel finally having put together a full length album for release? I am sure you guys have been thinking about it for a while now.

Surprisingly the record has only been an idea for less than 6 months. We’ve always been in the single model. We set out at the start of 2014 to create a hip hop style mixtape, including 6 tracks with all original music and a short film to match the content. It was a pretty ambitious idea to start with but as we got deeper into writing the mixtape, we found we had the tracks for a full length record. It was a crazy time throughout March and April of 2014, traipsing across America, Coachella and Europe while working on the final tracks.

A full album now also means a full live performance! Tell us about your upcoming tour. Where are you most excited to play? 

We’re currently planning out the show for the new music. It follows much the same process as our previously toured shows, but now we’re faced with the prospect of a lot more of our own content, along with some special edits made specifically for the tour. We’re working with a few creatives on the visual and lighting side to, hopefully, deliver a product that will keep everyone’s attention for more than hour.

Tell us about the Two Bodies video. The camera work is great and the concept couldn’t be more literal. It’s really a nice intro/teaser to the album. What made you choose this track as the introduction to Down to Earth ?

Two Bodies, lyrically, is a personal story from Emma Louise. That’s more or less what inspired a more literal direction in the clip. We wanted to make the video relative to the intended narrative. It’s a positive message and a something we didn’t want confuse with a different direction in a video. Choreography is something we’ve always stayed away from, but this time it felt right. Two Bodies was actually the first track we recorded for the project, and sequentially it’s the first track on the record. It just felt right to lead with this and to show a slight deviation in our direction while staying true to some of our older work.

You have some great cameo/collaborations on your album including Reggie Watts. I first saw him doing music in a collab with LCD Soundsystem during their final show and I thought it must be nuts to work with that guy. He’s super talented and wild as hell! How was working with Reggie? Will he be performing with you guys during your tour?

We saw the same performance with LCD Soundsystem and it was sort of a catalyst for reaching out to him. He is one of the most talented and humble people we’ve ever worked with. He’s so well known for his comedy, but his musical ability is just as good, if not better. The recording came about after we sent him a demo and he agreed to get in the studio with us. Jimmy was in the Ground control studio in New York with Reggie, and I (Hugo) was on skype at 5am from Sydney during the process. We’ve only just finished shooting the video with Reggie in Venice, which should be out in the next month or so. He went above and beyond for the final product, getting involved in all facets of the release. We can only hope the success of the song is justified in his hard work.

Tell us about your other collaborations on the album?

We worked: 18yo Bishop Nehru. It was basically our take on the 90s hip hop era. Something we’ve always been huge fans of. We wanted to show the diversity in our tastes and production and a full length album is the best way to go about that.

Our most talented touring vocalist Owl Eyes with a track we co-wrote with Julian Hamilton of The Presets. It’s on the housier side of things and almost creates the full spectrum between itself and Bishop’s feature.

Katie Noonan who has performed at some of biggest events around the world, and has been an Australian musical icon.

Amsterdam based Irishman, Stee Downs, who embraces our soft spot for the 80s and synthesised bells.

And of course, our studio friend and neighbour, Dennis Dowlut AKA Deautch Duke, who has been responsible for acts like Electric Empire and Disco Montego. He’s been an influence to us since before we’d even met and it was great to have him involved to the degree he was.

Did you have any particular influences involved in the naming and the creation of the album?

Down to Earth has a few meanings and it just seemed to fit. First and foremost, it stamps the obvious aeronautical connection we’ve always had. It’d be a shame to pass up the opportunity for a heavy-handed flight pun. But it also relates to the people we’ve worked with and the way we try to conduct ourselves. Every collaborator on the album was a pleasure to work with, and in an industry that has coined the term “diva”, it’s nice to know we’re in like-minded company. It’s a tip of the hat to our humble bedroom-producing beginnings. If the title ever turns out to be ironic, we expect to be reminded.

Do you each have a favorite track on the album?

Like any album, it’s hard to pick a favourite. Different tracks become relevant at different times. Something we may have loved last month can be eclipsed by another track because of context, or something as simple as how everyone reacts to it. I’ve changed my mind 4 or 5 times since we started making Down To Earth.

What are you both looking forward to most about your upcoming tour? What are you least looking forward to?

We’re really looking forward to touring a show that encapsulates our journey so far over this 4 year period. The times between shows with the crew are really special too. It’s the intricacies of tours that are best remembered and that can be the difference between a good and a bad tour. The least fun part is all the flying and the early lobby calls. It’s enough to send anyone insane, but it comes with the territory of having a pretty fun job.

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Logjam Presents

Reggie watts, kainan lacasse.

Logjam Presents is pleased to welcome Reggie Watts for a live performance at The Wilma on Tuesday, October 24, 2023. Tickets go on sale Thursday, June 29, 2023 at 10:00AM at The Top Hat, online or by phone at 1 (800) 514-3849. Reserved Premium Balcony tickets, Reserved Standard Balcony tickets and Reserved Floor tickets available. Pricing… Continue Reading

Logjam Presents is pleased to welcome Reggie Watts for a live performance at The Wilma on Tuesday, October 24, 2023 .

Tickets go on sale Thursday, June 29, 2023 at 10:00AM at The Top Hat,   online or by phone at 1 (800) 514-3849. Reserved Premium Balcony tickets, Reserved Standard Balcony tickets and Reserved Floor tickets available. Pricing on the floor varies based on location. All ages are welcome.

Additional ticketing and venue information can be found here .

About Reggie Watts

Reggie Watts is an internationally renowned Musician/Comedian/Writer/Actor who currently stars as the bandleader on CBS’s The Late Late Show with James Corden. Using his formidable voice, looping pedals, and his vast imagination, Watts blends and blurs the lines between music and comedy, wowing audiences with performances that are 100% improvised.

Watts’ first Netflix special Spatial released to massive critical acclaim, with the New York Times calling it “a giddy rush of escapist nonsense” and dubbing Watts “the most influential absurdist in comedy today.” The A.V. Club described Spatial as “signature Watts, meaning it’s alternately exhilarating, silly, exhausting and transcendent,” and Exclaim! Magazine called his performance “engaging, absurd, thoughtful and, most importantly, wholly unpredictable.”

As a solo performer, Watts brand of musical/comedy fusion has led to sold out headlining tours in the U.S. and Europe, including festivals such as Bonnaroo, SXSW, Bumbershoot, Just For Laughs, Pemberton and more. Last year, Watts released his own content app called,WattsApp, a techno-savvy look into his life, work, and techno junk drawer. WattsApp has all original content including a show called, Droneversations where he interviews guests while it’s filmed by drones along with other fun content.

In 2010, Watts released his debut comedy special, Why Shit So Crazy? on Comedy Central Records, and is now available to stream on Netflix. Why Shit So Crazy?featured Watts in live performances at New York venues such as Galapagos, The Bellhouse, and Le Poisson Rouge, bookended with brief sketches and music videos. Later that year, at the invitation of Jack White, Watts recorded Reggie Watts: Live at Third Man Records which was released in limited edition vinyl. In 2012, Watts recorded his second comedy special, Reggie Watts: A Live At Central Park, which was released by Comedy Central.

Watts was born in Germany, raised in Montana, and currently resides in Los Angeles.

Montana born and raised comic. Has done comedy in Seattle, Chicago, Arizona and his favorite Austin Texas. Kainan has been doing comedy for almost 3 years now and is making his way into the industry. @Kainanlacasse is his instagram.

• Connecticut
• Massachusetts
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• North Carolina
• North Dakota
• Pennsylvania
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• West Virginia
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• New York City, NY
• Orlando, FL
• Philadelphia, PA
• Phoenix, AZ
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• Portland, OR
• Richmond, VA
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• Saint Louis, MO
• Salt Lake City, UT
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• San Francisco, CA
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• Vancouver, BC
• Washington, DC
• Twice a week
• Twice a month

BWCF Presents

Reggie watts.

THIS IS A GENERAL ADMISSION, SEATED SHOW.

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Reggie Watts LinkTree

Reggie Watts is an internationally renowned Musician/Comedian/Writer/Actor who currently stars as the bandleader on CBS’s The Late Late Show with James Corden. Using his formidable voice, looping pedals, and his vast imagination, Watts blends and blurs the lines between music and comedy, wowing audiences with performances that are 100% improvised.   Watts’ first Netflix special Spatial released to massive critical acclaim, with the New York Times calling it “a giddy rush of escapist nonsense” and dubbing Watts “the most influential absurdist in comedy today.” The A.V. Club described Spatial as “signature Watts, meaning it’s alternately exhilarating, silly, exhausting and transcendent,” and Exclaim! Magazine called his performance “engaging, absurd, thoughtful and, most importantly, wholly unpredictable.”  As a solo performer, Watts brand of musical/comedy fusion has led to sold out headlining tours in the U.S. and Europe, including festivals such as Bonnaroo, SXSW, Bumbershoot, Just For Laughs, Pemberton and more.  In 2020, Watts released his own content app called, WattsApp, a techno-savvy look into his life, work, and techno junk drawer. WattsApp has all original content including a show called, Droneversations where he interviews guests while it’s filmed by drones along with other fun content.  In 2010, Watts released his debut comedy special, Why Shit So Crazy? on Comedy Central Records, and is now available to stream on Netflix. Why Shit So Crazy? featured Watts in live performances at New York venues such as Galapagos, The Bellhouse, and Le Poisson Rouge, bookended with brief sketches and music videos. Later that year, at the invitation of Jack White, Watts recorded Reggie Watts: Live at Third Man Records which was released in limited edition vinyl. In 2012, Watts recorded his second comedy special, Reggie Watts: A Live At Central Park, which was released by Comedy Central. 

Watts was born in Germany, raised in Montana, and currently resides in Los Angeles. 

Opening acts coming soon! 

For more information about Blue Whale Comedy Festival and this year’s festival schedule, visit  BWCF . —– Please do not attend this event if you have a diagnosis of coronavirus, have been in contact with a confirmed case in the last 5 days or have been told to quarantine/isolate within the last 5 days. Also, do not attend if you are showing symptoms of a new cough, a new onset of shortness of breath, or had a fever within the last 48 hours.  

Smoking and vaping is not allowed inside of Cain’s Ballroom.

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