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Photo Credit: Mindy Tucker

Year in ReView: Vanyaland’s 21 favorite comedy releases of 2021

Editor’s Note: Welcome to Vanyaland’s Year in ReView coverage for 2021. It’s been a year, huh? Luckily, we’ve had incredible art across the spectrum of music, comedy, and film to help prevent us from going totally insane. As we raise a glass to the year that was, check out all our 2021 Year In ReView coverage as it surfaces throughout the week and into the holidays.

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There’s a lot that can be said about the comedy content of 2021, but one thing that can’t be said is that it was lazy. From start to finish, this year has yielded a dizzying amount of content in the realm of stand-up, and artists truly cemented their creative fingerprint in the timeline, as no two releases were the same. From rooftops and backyards to the familiar, comfy confines of a comedy club or theatre, stand-up rolled through the year like a freight train with a relevance and timeliness that gathered everyone up along the way and made it’s most valiant effort to help us get through the chaos.

While some of our favorite releases from this past year dwelled heavily in the realm of acting as a time capsule of sorts to the most dark and dour days of the pandemic, others deliberately steered clear, and both avenues did so quite gracefully. While perspectives and opinions aplenty came from all directions, the most important part is that the comedy released in 2021 (and specifically, the 21 projects we’ve curated here) made us laugh, cry, think deeper, disconnect, process things a little differently, and even question our entire realm of understanding at times.

In a year of getting back into clubs and other venues for some upfront, sold-as-is comedy, there was also a respectable influx of creative angles that artists took to deliver their truths, and while it may seem like every possible scenario was considered, the best part is that next year is right around the corner, so there’s a very good chance that we’ll see the limits pushed and the creative ceilings raised even higher than before.

Adrienne Iapalucci, Baby Skeletons

To say Adrienne Iapalucci’s debut album is “dark” would do it absolutely no justice. This one goes straight to the shadow realm from the start, and stays deep in the catacombs of comedy for the duration. There are very few moments in this hour that don’t induce at least a slight cringe, but that is where the magic is found, as Iapalucci spares no man, woman or child in this brilliantly navigated Willy Wonka ferry ride beyond virtually every boundary considered “off-limits” by today’s standards. The velocity at which this material travels straight for the jugular may not be everyone’s cup of tea, but sweet baby J, does it hit hard and hilarious.

Joyelle Nicole Johnson, Yell Joy

With more than one creative endeavor making it into the world this year, Joyelle Nicole Johnson’s debut album was a remarkable introduction — and arguably, the best part is that it was Frankensteined together from different sets, during a different year, and still wound up being incredibly timely and necessary. Thankfully, this is only the first taste of what Johnson has to offer, and it will be exciting to see what she has in store next.

Josh Johnson, Elusive

It really isn’t an exaggeration to say that this album was a blinding display of comedic, musical, and overall creative brilliance. Marrying the worlds of live stand-up and atmospherically comparable music is one thing, but for Johnson to use this unique platform to cover an array of topics of the day, while remaining funny, entertaining and precisely focused on delivering a solid product (as he’s proven he’s capable of in the past) is a truly masterful utilization of creative force.

Brendan Sagalow, Not Now More Than Ever

From within the trenches of the outdoor comedy days of the pandemic, Brendan Sagalow’s debut album highlights his innate sense for conversational comedy, as he covers the comfortable frustration of having to move back in with his parents, his Hot Topic days, the oddities of his native Long Island and so much more. No topic seems out of reach, and Sagalow’s natural delivery makes this hour an easily digestible batch of unfiltered, uncluttered comedy.

Tone Bell, One Night in Austin

Tone Bell has truly acquired the ability to make us feel like we’re close personal friends with him. With his latest hour, not only does Bell seek to capture his one night stay in Austin in a way comparable to how a polaroid freezes a moment, but his observations flow purely, and the stories of happenings outside of his comedy world serve to show a different side of him, and succeed with flying colors while still showcasing his unwavering comedic abilities.

Chad Daniels, Twelfth Night

It’s business as usual for Daniels’ latest album, in that it’s a comedy bonanza without a flinch, and we couldn’t be more psyched for it. Letting us in on the most up-to-date happenings with him and his kids, how he feels about getting older and subsequently falling apart physically, and his apparent disdain for Little Debbie, Daniels fills the half-capacity crowd with enough self-deprecation and verbal illustration-led clown powder to pull you through your headphones and into the club, while making the room sound like it was sold out and bursting at the seams from start to finish.

Jackie Kashian, Stay-Kashian

Nowadays, it’s a rare trait to kill as a comic and not be at least a little vulgar, but Jackie Kashian proves that it can be done, and she does so in tremendous fashion. With a whopping dose of no-nonsense midwestern perspective, Kashian takes on a number of topics, both hot-button and fairly meta, which she packages up in a neat little gift box that knows no chill.

Laurie Kilmartin, Corset

By no means is this Laurie Kilmartin’s first dip in dark waters, but by god, her latest batch of material may just be her fiercest yet. Whether it’s a political take, or delving deeper into the nooks and crannies of her life, Kilmartin’s navigation through the unpleasantries and absurdities of life are delivered with top-tier execution from top to bottom, and her unwillingness to take her foot off the gas just shows how dialed in she was for this hour, and it’s keeping us looking forward to what she has in store for us next year.

Lil’ Rel Howery, Humbly Vulnerable: I Said What I Said

Longer than your average comedy album, Howery’s latest recording is an absolute trip. From the frustrations of family gatherings over Zoom and online schooling, to returning to a familiar touch point as he discusses his philosophies in life while touching on topics of the day in the way only he knows how, the extra time spent with goes by all too quick for the amount of fun this album, and the amount of joy that he pours into the microphone.

Randy Feltface, The Book of Randicus

Whether the material was coming from the puppet himself, or from the body attached to the hand that was shoved up his ass, it doesn’t matter because this special scores on so many levels. From the well-articulated diatribes about morality and faith (occasionally explained with the chorus of Wham!’s legendary hit) to stories about upbringing and daredevil uncles that have you mentally picturing a purple puppet experiencing such moments in the place of a human, the top-tier comedy delivered by this misfit Muppet is not only well-sculpted, but also genuine and heartfelt (pun absolutely intended, because why the hell not?)

Chris Gethard, Half My Life

In a year where docu-specials cropped up on a number of occasions, Chris Gethard’s take is one that paints a beautiful, yet not-so-pretty picture of what it takes to be a road-worn comedian who is also supporting a family. Inspired by the documentaries that chronicled the grit and determination of the punk bands he grew up admiring, Gethard not only shares a smattering of the comedy that has made him such a consistently powerful artist over the years, but he also takes us on a journey that show his love and appreciation for the avant-garde events and unique venues he filled his tour map with. 

Bo Burnham, Inside

Where this special is going, it doesn’t need Emmys. We laughed, we cried, and we contemplated our entire existence all because Burnham returned to the comedy cypher with a delicately woven tapestry of some of the most thought-provoking, heart-wrenching and game-changing musical and visual poetry we’ve seen in years. An unwavering masterclass in how social responsibility can (and ultimately as a result, did) change the landscape of bringing light to serious societal flaws through art, this special was as entertaining as it was relatable, and as fun and uplifting as it was dark and emotionally draining, and we were willfully there for all of it, over and over again. Bravo, Mr. Burnham.

Tig Notaro, Drawn

There’s not much that needs to be said in order to persuade us in understanding how Tig Notaro has been, and will be for the foreseeable future, a comedy force to be reckoned with. However, with her latest hour, it isn’t just the well-crafted and thoughtfully executed musings that make this special a chef’s kiss of a project, but the fully-animated visual delivery makes it more of an all-around creative experience than your average special. 

Rory Scovel, Live Without Fear

Anyone familiar with Scovel’s comedy knows that the man can think on his feet at a clip that very few can match. But to deliver exclusively improvised material for six straight nights, never repeating himself, is titanic to say the least. On top of his telltale blend of what feels pretty accurate to categorize as “Philosophically-executed dick jokes,” Scovel uses his own documentary element to share the unlikely story of the special’s setting, Atlanta’s Relapse Theatre, to make this a feature-length experience worth watching more than once.

Drew Lynch, Concussed

It’s been a long journey from the America’s Got Talent spotlight, but Drew Lynch hasn’t rested on his laurels while touring the country and bringing his bubbly personality to the masses. That’s even more evident in his first special, which he released via YouTube, as he utilizes his charm and seemingly innocent tone to deliver a gut-busting hour of observations ranging from politics and social topics to the origins of road rage. A slow-burn approach makes up for the lack of physicality, and the laughs-per-minute bring this special into the stratosphere.

Rosebud Baker, Whiskey Fists

The rise of Rosebud Baker is long overdue, and her debut hour proves that statement more than once. It’s one thing to be dangerously upfront and honest, but to also be brutally vulnerable in talking about some dark moments in her life, all the while keeping the crowd laughing throughout the entire set, Baker flaunts an impenetrable force in her introductory special that is to be reckoned with for a long time to come. 

Jo Firestone, Good Timing

While it is a real treat whenever Jo Firestone takes her time in the spotlight, this adorably sweet and touching special shows the comedian in a completely different light, as she puts her teaching skills on display. Part documentary, part comedy special, Firestone’s leadership of a senior center comedy workshop leads to some truly blushing moments, but all in all, the stories of love and humor, and a New York of days gone by, combine to create the warm and gooey center that make this such a wonderful experience.

Mo Amer, Mohammed in Texas

Whether it’s his uncomfortably relatable takes on the pandemic, his disdain for people who lack proper airport etiquette, or his outlook on the sacred makeup of hummus, there’s no such evidence of a sophomore slump for Mo Amer. Harnessing a globally relevant viewpoint and never looking in the rearview from the jump, Amer’s second Netflix special shows us once again just how rare and special of a talent the man is, and what makes it even more impressive is that, in the midst of the brightest spotlight of the evening, Amer takes more than a few opportunities to give credit where credit is due and let us know that the places and people that raised him are as important to his creative journey as the execution of his best hour yet.

Christian Finnegan, Show Your Work

While Finnegan’s comedic power is one that we’ve been aware of for years now, what he accomplished in this special was something titanic. Aside from delivering a devilishly quick and engaging set of stand-up, his ability to tell the story of what happens when you take a leap and hold on for dear life when the sea gets stormy adds a completely new and intriguing layer to the legacy of QED, and the special as a whole.

Nate Bargatze, The Greatest Average American 

Comedy during the pandemic has hit both ends of the spectrum, with some comics leaning so far into it that it consumes their entire set, and then there are those who veered out of its way without even testing the waters. Neither side is incorrect in their approach, but Nate Bargatze showed us how to stick the landing between the two in his second hour for Netflix, and he did so exceptionally well. As one of the first comics to set up shop in an outdoor venue for a Netflix-produced special during the pandemic, Bargatze’s playful poking at the insanity of the past 19 months and change serves to keep us in the times we’re in, while stories of fatherhood and growing up in the Oregon Trail generation largely keeps Bargatze in the ballpark of why we came to love him so much in the first place, all the while generating one full hour that is worth every minute.

Jessica Watkins, SPECIALish

This was so much more than a special. It was, both literally and figuratively, a journey that Watkins brought viewers on to chronicle her desire to record a special whilst trekking across America on foot, and ultimately, finding a new perspective on life at the end of it all. By the end of the ride, there are laughs, tears, and a brand new understanding of what can drive, or walk an artist toward a goal they have in mind, with no luck in stopping them.