David Lucas recently released his first stand-up special, “Uncan,” filmed live at Joe Rogan’s Comedy Mothership in Austin, Texas. Known for his regular appearances on “Kill Tony” and as Brendan Schaub’s former opener, Lucas has certainly put in the hours in the comedy trenches. However, “Uncan” was a disappointment, and it serves as a prime example of why the Austin comedy scene feels so lacklustre and depressing.
First off, the title “Uncan” is already outdated. The concept of cancel culture has been overplayed, and Lucas’s attempt to position himself as a bold, unfiltered comedian falls flat. Ironically, Lucas recently had to apologise for a controversial joke about George Floyd, undermining his “uncancellable” persona.
The Comedy Mothership itself, hyped as a comedy mecca by Joe Rogan, feels like a gaslighting exercise. Rogan’s self-promotion within the club, such as sneaking his own specials into a wall of legendary comedy albums, reeks of propaganda. The atmosphere is hostile, with intrusive security and a vibe that’s more funeral than fun.
Lucas’s special is marred by tasteless jokes, starting with a disturbing bit about abusing women. His opening joke revolves around his preference for dating black women because, according to him, they don’t show evidence of abuse as easily as white women. This “edgy” approach is neither creative nor funny; it’s just offensive.
The special also features a lot of forced laughter from the audience, who seem unwilling to admit they’ve been duped into attending a subpar show. Lucas’s material ranges from fat-shaming to homophobic rants, all delivered with a lack of self-awareness and intelligence. His jokes about political issues are shallow, merely echoing stale Fox News headlines.
Lucas’s desperate attempts to pander to Joe Rogan’s tastes are evident. The Austin comedy scene has become a reflection of Rogan’s poor sense of humour, with comedians tailoring their material to please him. This has created a stifling environment where genuine creativity is stifled.
In a bizarre twist, Lucas hints that if he gets cancelled, he’ll come out as gay. Given his apology for the George Floyd joke, it’s clear he has been cancelled to some extent. By his own logic, this means he’s now come out as gay. It’s a confusing and convoluted way to make a point, but it seems Lucas has inadvertently revealed more about himself than he intended.
Overall, “Uncan” is a dismal effort, lacking in both humour and substance. Lucas’s jokes are low-effort and juvenile, more suited to a middle school playground than a professional comedy stage. The special’s short runtime is a blessing, as it’s filled with awkward pauses and uninspired crowd work.
The Austin comedy scene, dominated by Rogan’s influence, feels deeply unhappy and disillusioned. Despite their success, many comedians in the scene seem to share a pervasive sadness, perhaps realising that the problems they fled in LA exist everywhere.
In the end, Lucas’s attempt to market himself as an edgy, uncancellable comedian has backfired. His apology video has alienated his target audience, and his offensive material has turned off everyone else. “Uncan” is a one-out-of-five effort, and Lucas’s future in comedy looks bleak.