Art Beat Austin has carved out a niche for itself with a distinctive brand of comedy that stands in stark contrast to the prevailing anti-woke sentiments prevalent in the scene. The latest addition, titled “Anybody But Tony,” aims to offer an alternative to this trend.
Set against the backdrop of Barrett’s Too, where patrons enjoy coffee and margaritas while engaging in board games and assembling anti-ICE packets for local enterprises, the comedy event features a lineup of four comedians each performing for eight to ten minutes, culminating in a vibrant drag finale.
Co-hosts Everett Bragg and Erik Holden launched the show a year ago, motivated by a desire to create a comedy environment that counters the often uncensored, anti-woke performances of their peers. The show’s title is a pointed critique of Tony Hinchcliffe’s viral “Kill Tony” podcast and live event, which attracts countless comedians weekly who seek their moment to shine on stage in front of a vast audience. While this platform can catapult careers, it frequently employs humor that revolves around sensitive topics such as race, gender identity, and sexual orientation.
“When we envisioned this show, we had a lot of ideas. But one core element was clear: we did not want it to resemble Tony [Hinchcliffe] in any way,” Bragg explained before the show last Thursday. “We are open to anyone performing, except for Tony.”
Andrew Horneman, one of the comedians at the event, previously participated in “Kill Tony” six years ago. Initially, he sought exposure but was taken aback by the treatment comedians received while waiting for their turn—akin to being “herded like cattle.” Following their performances, the comics faced harsh critiques of both their material and appearance.
“They called me Joe Rogan with AIDS,” Horneman recounted. “Thank goodness I had therapy afterward.”
Before his time on “Kill Tony,” Horneman witnessed Hinchcliffe’s performance at Vulcan Gas Company, where the comedian’s use of an anti-Asian slur and stereotypes caused a palpable shift in the audience’s atmosphere. “It was amusing until it crossed the line into hate,” he noted, reflecting on the moment he no longer felt secure amid the jokes.
Despite his previous experiences, Horneman feels a sense of ease performing at “Anybody But Tony.” Bragg and Holden emphasize that their show serves as an antidote to the punch-down humor often associated with “Kill Tony,” instead focusing on uplifting comedy.
“I want to leave a show feeling good after enjoying the laughs,” Holden expressed. “I hope to go home, reflect on the humor, and carry that joy with me, especially given the current political climate.”
The rise of “Kill Tony Live” transformed Austin into a comedy hotspot after its move from Los Angeles in 2020. This transition coincided with the influx of notable comedians like Joe Rogan and Shane Gillis, who were attracted to Texas for its less restrictive pandemic regulations, seeking the freedom to perform without limitations. Now, many aspiring comics flock to Austin with hopes of securing a coveted spot at Rogan’s esteemed Comedy Mothership.
“The Rogan-sphere was among the first to resume live performances because they were the ones least inclined to adhere to mask mandates or safety measures,” said Dave Buckman, executive producer of ColdTowne Theater. “Their loud presence during the pandemic garnered them significant attention.”
ColdTowne has been a cornerstone for local talent since 2006, and Buckman believes that while Austin may have gained a reputation for harsh comedy typified by shows like “Kill Tony,” it is the original comedians and venues that continue to define the city’s unique comedic landscape.
“I’m unconcerned when people claim ‘Kill Tony’ represents Austin’s comedy scene,” Buckman stated. “Yes, Austin has a comedy scene, and we laid the groundwork for that. We paved the way so others could thrive.”
Bragg and Holden remain optimistic about the resilience of Austin’s independent and alternative comedy scene, despite the prominence of “Kill Tony”-style performances. They are committed to nurturing an environment that celebrates experimental and diverse comedy, drawing on the city’s rich comedic heritage dating back to the 1980s.
“We hope to see a revival of the DIY and alternative comedy scenes as the next wave of entertainment in Austin,” they affirmed. “For now, we will continue to bring this unique style of comedy to ‘Anybody But Tony.’”
“Everyone—regardless of gender identity—should feel comfortable because we are all Americans. We cherish our freedoms, and we’re here to celebrate them in Barrett’s backyard,” Holden concluded.
