Intellectual Dissatisfaction: Comedic Relief

Dan Soder – The Golden Retriever of Comedy Tour

Life With Glanzer — Tue, 28 Apr 2026 13:17:51 GMT

Dan Soder, the “Golden Retriever” of Comedy

Covering stand-up comedy feels like a different kind of assignment altogether. Unlike live music where volume, lighting, and crowd energy can carry moments on their own, comedy is stripped down to timing, presence, and writing. That’s part of what made this show feel like new territory.

Dan Soder isn’t exactly an underground name. With multiple specials across platforms like YouTube, HBO, and Netflix, plus a long-running podcast that’s surpassed 100 episodes, he’s built a steady and loyal following. Still, going in, there was a level of uncertainty. My personal baseline for live comedy leans toward names like Matt Rife, Daniel Tosh, Anthony Jeselnik, and Bo Burnham, each with very distinct styles ranging from crowd work to dark precision to musical introspection.

My first real exposure to Soder came through his appearance on Kill Tony, where his quick instincts and conversational delivery stood out immediately. That same looseness, almost deceptively casual, translates even better in a full-length live setting. There’s a natural rhythm to his delivery that feels less like a performance and more like being pulled into a conversation that just happens to be consistently funny.

Small selection of quality merch, along with a single signed poster for a true fan.

Before the show even began, there was already a sense of connection between Soder and the audience. One moment in particular stood out when someone asked me where they’d be able to find photos from the show. It was a small exchange, but it said a lot about the environment.

There’s an ease to how Dan carries himself, a kind of unforced likability that makes the “Golden Retriever” label feel less like a gimmick and more like an accurate read on his comedic persona.

As the night unfolded, that tone of relaxed, engaged, and consistently sharp became the throughline.

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First to get Laughs

Aidan McCluskey opened the night with a style that leaned heavily into long-form storytelling. Aa deliberate contrast to the quick-hit, punchline-driven sets that often dominate opening slots. Instead of rushing to win the room, he took his time, building narratives piece by piece, letting details simmer before landing the payoff.

Right on the edge of a bad idea, and that’s exactly why it works.

His material circled familiar territory—family dynamics, lingering dad issues, the quirks of small-town living—but it never felt recycled. There was a specificity to his delivery that gave even the most relatable themes a personal edge. Stories about “dumb friends” didn’t just play as throwaway bits; they became fully realized characters, the kind you could picture instantly, whether you grew up with them or not.

What stood out most was the sense of intimacy. McCluskey didn’t perform at the audience so much as he let them in. The pacing allowed for that as he took pauses that felt intentional, not empty, giving the crowd just enough space to connect the dots before he pulled them to the next beat. It created a rhythm that rewarded attention, especially as threads from earlier in the set quietly lingered in the background.

Aidan having the time of his life

That patience paid off in his closing moments. A callback that was subtle but effective looped the set back to an earlier joke, tying everything together in a way that felt earned rather than forced. It’s a classic technique, but one that only works when the foundation is strong. Here, it landed clean, giving the set a sense of cohesion that elevated it beyond a typical opener.

In a lineup where he could have easily gone for fast, immediate laughs, McCluskey opted for something more measured and in doing so, set a tone that felt both grounded and quietly confident

Wedged in the Middle was Greg Stone

Greg Stone took on the middle slot with a set that felt deceptively unsteady, but in a good way. There was structure there, but he played with it just enough to keep the audience guessing. A touch of crowd work popped up early, not enough to define the set, but enough to break the fourth wall and make the room feel involved rather than just observant.

Punchline loading… and the crowd already knows it’s coming.

From there, he settled into longer-form storytelling, weaving together bits that touched on identity, upbringing, and the kind of offbeat experiences that feel too specific to be made up. His jokes about his Asian and Italian kids leaned into cultural contrasts, but the humor came more from his perspective as their father than from stereotypes. Finding the awkward overlap in expectations, family dynamics, and social situations.

The most interesting move came right at the start. Stone opened with a joke he casually claimed was “usually his closer,” immediately creating a strange kind of tension. It hit like a closer too-tight, polished, and big enough to feel like an ending. But instead of wrapping up, he kept going, almost shrugging as if he’d painted himself into a corner. From that point on, the audience wasn’t just listening, they were tracking. Was that actually his best joke? Did he just burn his closer on purpose? Or was he setting up something bigger?

Mid-story, mid-laugh, right where the magic happens.

That question lingered as he moved into one of the more memorable bits of the night. A story about being mistaken for Sal Vulcano from Impractical Jokers. What could’ve been a quick throwaway turned into a layered story about a missed opportunity, specifically, a moment where he could’ve leaned into the confusion and played the role, potentially becoming an unlikely “hero” in someone else’s story. Instead, he let the moment pass, and the humor lived in that hesitation. In the what-could-have-been.

It’s that kind of storytelling that defined his set. Not just punchlines, but moments stretched out long enough to explore the angles of where the joke isn’t just what happened, but what didn’t happen, and how close it came to going differently.

Making sure even the back row doesn't miss a single facial expression.

By the time Stone reached his actual closing stretch, the earlier claim about his “usual closer” had done its job. True or not, it kept the audience engaged on a deeper level, turning the set into more than just a sequence of jokes. It became something you followed, not just something you reacted to.

The Man of the Hour: Dan Soder

By the time Dan Soder took the stage, the room was fully dialed in, but whatever expectations were there didn’t last long. Within minutes, it was clear this wasn’t going to be a set you casually observe. It was the kind you try to document and quickly give up on because you’re laughing too hard to keep your hands steady. Any thought of grabbing photos faded fast and were replaced by that involuntary, doubled-over kind of laughter that doesn’t leave much room for anything else.

Just a man, a mic, and a very supportive pair of stools.

Soder’s set leaned heavily into mid-form storytelling, but unlike a slow burn, his pacing felt alive as it was constantly shifting, layering jokes within jokes. One bit that stood out framed “talking crap” as the dessert of conversation. Not the main course, not something you lead with, but the indulgent finish everyone secretly looks forward to. It was such a simple premise, but the way he built it out with adding examples, and escalating the absurdity, turned it into something much bigger than a throwaway observation.

That same escalation showed up in a recurring thread of “don’t knock it ‘til you try it” jokes, where he pushed the concept into increasingly gross and ridiculous territory. Each example walked right up to the line of being too much, then crossed it just enough to get the reaction he wanted. Half laughter, half disbelief.

And when the audience did react in a softer way, an audible “aww” slipping out during one bit, he pounced. Instantly flipping the tone, he called it out, roasting the crowd for their sudden sympathy and labeling it as hypocritical given everything they’d been laughing at moments earlier. It was sharp, but not mean-spirited, more like a reset, snapping everyone back into the rhythm of the set.

The art of the setup.

Animals, especially dogs, became another playground. Soder’s affection for dogs came through, but so did his willingness to tear into specific breeds with chihuahuas taking the brunt of it. The jokes weren’t just surface-level digs either; he leaned into the absurdity of their personalities, building them up into these exaggerated, almost cartoonish characters.

What really elevated the material, though, was his use of impressions. Accents and voices weren’t just add-ons, they added depth to the punchlines. Whether it was a Scottish lilt, an old-timey cadence, or a hyper-specific Boston accent, each one sharpened the joke, giving it texture and momentum. It’s one thing to tell a story; it’s another to perform every character in it, and Soder made that feel effortless.

And then there were the quieter observations, like the “rain cloud” family member. The one who carries a constant, low-grade sadness into every room. It was a different kind of joke, less explosive but just as effective, because of how recognizable it felt.

The best part of the job is laughing along with the room.

That balance between high-energy absurdity and grounded, observational humor is what carried the set. Soder never stayed in one lane too long. Just when a bit reached its peak, he’d pivot with a new voice, a new angle, a new story, keeping the audience not just laughing, but locked in and wanting more, even when it was over.

Afterglow

For the first time covering a comedy show at Grand Falls Casino and Resort, or anywhere for that matter, this experience landed far beyond expectations. Live stand-up has a different kind of energy than concerts or other events. It’s less about spectacle and more about connection. And in this case, that connection was constant. From the first opener to Dan Soder himself closing out the night, the room felt unified by one thing: laughter that never really let up.

What stood out most wasn’t just how funny the sets were, but how shared the experience felt. Comedy, at its best, turns a room full of strangers into something close to a community, even if it’s just for a couple of hours. Reactions ripple, jokes build on each other, and suddenly you’re not just watching it, you’re part of it.

Trying to capture that through a camera lens adds another layer to it personally. There’s a challenge in balancing the instinct to document with the reality of being pulled into the moment. More than once, the camera had to take a back seat simply because the laughter made it impossible to focus. And honestly, that feels like a success in itself. If the moment is strong enough to interrupt the duty, it’s probably worth more than the photo.

Just another night under the lights, laughing at life’s ironies.

At the same time, being able to preserve even fragments of that energy-the expressions, the reactions, the atmosphere—makes the experience linger a little longer. It turns something fleeting into something you can revisit, even if it never fully captures what it felt like to be there.

That’s the hope with this piece. Not just to recap the night, but to give a sense of what it was like inside that room and to offer a glimpse of the kind of laughter that doesn’t just entertain, but sticks with you long after the show ends.

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Trey Kennedy Finds the Comedy in Marriage, Parenting, and Everyday Disgust

Jeremy Mercier — Mon, 27 Apr 2026 19:15:42 GMT

Comedian Trey Kennedy performing The Relatable Tour at Grand Falls Casino in Larchwood, Iowa

There is a certain kind of comedy that does not try to reinvent the wheel. It looks at marriage, kids, exhaustion, bodily fluids, awkward strangers, and the slow disappearance of personal space and says: yes, this is ridiculous, and yes, you are allowed to laugh at it.

That is where Trey Kennedy lives.

Opener: Lucas O’Neil

Comedian Lucas O’Neil

The night opened with Lucas O’Neil, who had a tough time warming up the crowd right out of the gate but found them within a few minutes. Once he settled in, he got consistent laughs from material about OCD, family, religion, and the strange confidence people have when they misunderstand things completely.

Comedian Lucas O’Neil

He joked about his family noticing repeated behaviors, like walking across the street, and turning them into evidence of something larger. He moved into religion with bits about the Pope not being allowed to have a girlfriend and thinking being Catholic was basically the same thing as being culturally Jewish.

One of his sharper quick references came after joking that parents do not exist in the real world with adults. “The real world is not Bluey, sometimes Miss Rachel.” It was a small strange line, but one built perfectly for a room full of people who either have children or have had children’s programming slowly erode their adult brain.

Trey Kennedy

Comedian Trey Kennedy as he walked out on stage

By the time Kennedy came out, the room was ready.

Kennedy’s show is built heavily around marriage and parenting, especially the differences between men and women inside a marriage. His wife, Katie, is one of the biggest presences in the set, even though she is not on stage. She becomes less of a punchline and more of a character: the woman he loves, annoys, wants attention from, and says approves the jokes he tells about her.

That approval matters because a lot of the material walks close to the line. Kennedy jokes about trying to get some from his wife, feeling neglected while the kids take over their lives, and the gross physical realities that come with having children. But the jokes do not feel rooted in contempt. They feel rooted in the very specific exhaustion of loving someone while also sharing a home, a bed, children, responsibilities, and no remaining personal dignity.

He is also a very animated performer. He doesn’t simply tell jokes. He acts them out as they unfold. That helped simple premises land harder, like a bit about gifts between spouses. Katie got him swim shorts. He got her a massage chair. The joke is not just the imbalance. It is the whole emotional panic of trying to participate correctly in marriage while having no idea what the rules are anymore.

Kennedy also used music throughout the show, bringing out a keyboardist who later played a guitar too. The musical pieces felt connected to his social media style, especially when paired with videos, including an opening video before he came out and a song about his dad not being able to use iPhones. For some comedians, that kind of multimedia element can feel like filler. For Kennedy, it fits. His live show does not ignore the internet version of him; it expands it.

The funniest song was also the most disgusting. Kennedy sang about how gross his wife has become since having kids—not how she looks, but how she smells, leaks, and forces him to change the bed sheets more often. He belted it out to the emotional scale of Adele’s “The Other Side,” which made the whole thing even more absurd. Written out, it sounds like it should not work. In the room, it did.

That is Kennedy’s trick. A lot of the material sounds harsher in summary than it feels live because he performs it with obvious affection. He is not standing outside family life mocking it. He is inside the house, stepping on toys, trying to flirt with his wife, getting interrupted by a child, and turning the whole mess into a bit before he loses his mind.

Another song shifted into parental discipline, starting from the modern idea of “using words” with his son. His son had made his sister cry, apologized to Kennedy, then immediately assaulted her again. Kennedy built the frustration until he understood his own father better than he probably wanted to. The bit escalated into the old-school threat — if you hit her again, it will be the last thing you ever do — before landing on “I’m gonna beat my kids.”

The joke is not that hitting kids is good. It is that every parent who swore they would be different eventually hears some ancient parental phrase come out of their own mouth and realizes the past was waiting inside them the whole time.

The crowd work produced some of the night’s most unpredictable moments. Kennedy asked one audience member a question, and she asked if he wanted the honest answer. That is usually dangerous for a comedian. Her honest answer was that she had Type 1 diabetes, probably the worst possible response to receive in the middle of light crowd work. She had turned off her glucose monitor alarm to enjoy the show and Kennedy joked that if she passed out, she was not getting a refund.

Then another woman revealed that her kid had almost been mauled to death. At that point, the audience seemed determined to hand Kennedy medical emergencies and childhood trauma instead of normal answers. Really hittin home with the crowd work.

Comedian Trey Kennedy

Still, Kennedy handled it well, mostly because those strange turns fit the larger theme of the night. Parenting is funny until it is terrifying, then somehow funny again because that is how adults survive it.

One of his most relatable bits came from strangers touching your baby. Every parent knows the frustration. A baby exists in public, and suddenly people who would never touch another adult feel completely free to reach into a stroller.

From there, he moved into the emotional whiplash of parenthood: meeting nice strangers one minute, then suppressing the desire to hurt someone else’s kid the next because that kid messed with yours. It’s funny because it’s true. Parenthood doesn’t just make you softer. It makes you protective in ways that are ancient, unreasonable, and not fit for public conversation.

Kennedy also found strong material in the loneliness that can happen inside a full house. He joked about his son being all up in his shit, constantly going in for kisses, while his wife is busy and he is not getting much from her — arguably relatable for any parents of young kids, or those who’ve been in the trenches before.

Where the Mess Finally Lands

Comedian Trey Kennedy

By the end, Kennedy had turned ordinary domestic frustration into something communal. The show was not edgy in the traditional sense. Its danger zone was marriage, kids, germs, sex, body fluids, discipline, and the quiet humiliation of being needed by everyone in your house while still wanting someone to want you back.

O’Neil got the room moving. Kennedy took it the rest of the way. Together, they gave the crowd a night that was exaggerated but not dishonest.

Because parenting really can be the best and worst thing that ever happens to you at the same time.

And sometimes, if you do not laugh at it, what the hell else are you supposed to do?

Friday Funnies #75

Jeremy Mercier — Fri, 03 Apr 2026 11:39:02 GMT

These memes are intended to make light of an increasingly tense political atmosphere. This publication receives submissions from the community, and the memes held within do not reflect the opinions of the publication.

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Rat Says

Paid Protest

6 months ago · 41 likes · 12 comments · Rat

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Friday Funnies #74

Jeremy Mercier — Sat, 28 Mar 2026 03:18:45 GMT

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Friday Funnies #73

Jeremy Mercier — Fri, 20 Mar 2026 16:25:08 GMT

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Friday Funnies #72

Jeremy Mercier — Fri, 16 Jan 2026 17:31:36 GMT

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Conspi-Rat

Random Russian Memes #10

Good time of day, humans…

9 months ago · 39 likes · 9 comments · Rat

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A Legend In His Own Minefield

Music Appreciation With the Man Who Stopped Led Zeppelin in Their Tracks

While we’re on the subject of the occasional sneaky ambiguity of the giants of rock, we must of course first consider John Lennon’s quoting the …

9 months ago · 7 likes · 3 comments · John Mendelssohn

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Friday Funnies #71

Jeremy Mercier — Fri, 09 Jan 2026 19:38:54 GMT

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Reina’s Substack

Iodine~

This will be a rather short check in, so to speak. I started an iodine protocol on Dec 22 2025, and so far I already have noticable effects. I am already less fatigued than prior to implementing my r…

9 months ago · 12 likes · 2 comments · Blessed Warrior Reina

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Written In Stone

Interesting

Hello everyone, and welcome to Written In Stone [WIS]. A free-flow of raw ideas and candid musings, every weekly edition includes philosophical rants, speculative news-bites, personal updates, plus much more…

9 months ago · 13 likes · 1 comment · Stone Bryson

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Friday Funnies #70

Jeremy Mercier — Fri, 02 Jan 2026 18:54:38 GMT

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The Starfire Codes by Demi Pietchell

THE SCROLL: Disabling Email Notifications On Substack Will UNSUBSCRIBE You From Your Favorite Writers Without Your Knowledge Or Consent, Part III

🌟 The Starfire Codes delivers consciousness-expanding daily guidance, forbidden knowledge articles, and a transformative podcast for seekers ready to go beyond surface-level thinking…

9 months ago · 27 likes · 16 comments · The Starfire Codes

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Rat Says

Age Verification

9 months ago · 35 likes · 9 comments · Rat

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Midnight Memery #2

Jeremy Mercier — Thu, 25 Dec 2025 06:01:33 GMT

There comes a time in a man’s life when he’s left with no choice but to do what must be done.

Tonight is that night.

The DOJ has failed to comply with the Epstein Transparency ACT’s deadline for full disclosure of documents, and have redacted too much, or not the correct things — like victim identities. They even loaded certain redacted files as layered PDF files, allowing you to simply copy and paste the redacted text to another document to read it.

I had no choice but to bring you an exhaustive collection of highly relevant memes.

Without further ado, welcome to the second edition of Midnight Memery, a special collection of memes collected and presented by yours truly.

Friday Funnies #69

Jeremy Mercier — Fri, 19 Dec 2025 19:38:45 GMT

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The Starfire Codes by Demi Pietchell

THE SCROLL: Work As Hard On Your Dreams As The People Trying To Cover Up The Epstein Files

🌟 The Starfire Codes delivers consciousness-expanding daily guidance, forbidden knowledge articles, and a transformative podcast for seekers ready to go beyond surface-level thinking…

10 months ago · 27 likes · 10 comments · The Starfire Codes

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Friday Funnies #68

Jeremy Mercier — Fri, 12 Dec 2025 21:06:46 GMT

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Rat Says

Jokes

10 months ago · 40 likes · 6 comments · Rat

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Friday Funnies #67

Jeremy Mercier — Fri, 05 Dec 2025 10:20:30 GMT

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Rat Says

National Unity

10 months ago · 35 likes · 2 comments · Rat

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Friday Funnies #66

Jeremy Mercier — Fri, 28 Nov 2025 13:36:07 GMT

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Rat Says

Turkey Leg

10 months ago · 33 likes · 7 comments · Rat

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Friday Funnies #65

Jeremy Mercier — Fri, 21 Nov 2025 10:20:38 GMT

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THE FICTION DEALER

Quietus | Chapter 1 of My Debut Fantasy Novel

Two bodies frozen inside a shard pull Zoe Wright into her first ACU case and into a partnership with Xavier Hunt. From icy alleys to the streets of City Belly, the lead turns dangerous fast, forcing Zoe to decide what kind of detective she’s going to be…

a year ago · 47 likes · 21 comments · Miguel S. | The Fiction Dealer

I highly recommend this new fantasy novel by .

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Midnight Memery #1

Jeremy Mercier — Sat, 15 Nov 2025 06:01:24 GMT

There comes a time in a man’s life when he’s left with no choice but to do what must be done.

Tonight is that night.

If you didn’t know, rumor has it that the Epstein emails released by Congressional Democrats show Trump got a mouth full of Bubba’s shrimp, and I don’t mean Bubba Gump’s Shrimp… (honestly, who cares if that’s true, we get to make fun of it either way).

I had no choice but to bring you an exhaustive collection of highly relevant memes.

Without further ado, welcome to the first edition of Midnight Memery, a special collection of memes collected and presented by yours truly.

Friday Funnies #64

Jeremy Mercier — Fri, 14 Nov 2025 10:20:38 GMT

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The Starfire Codes by Demi Pietchell

MEME DROP #373: Wise People Speak Less And More Intentionally

The Starfire Codes produces an audience-supported publication with a stellar podcast, consciousness-expanding daily spiritual content, and well-researched articles on forbidden but crucial topics…

a year ago · 79 likes · 14 comments · The Starfire Codes

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Rat Says

Extremists

a year ago · 34 likes · 3 comments · Rat

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Friday Funnies #63

Jeremy Mercier — Fri, 07 Nov 2025 10:20:40 GMT

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Written In Stone

Changing Time

Hello everyone, and welcome to Written In Stone [WIS]. This is the place I come to share my randomized brain-bits, a free-flow of raw ideas and candid thoughts with little filter. Every edition (well, almost every) has at least one FREE segment, available for everyone to read…

a year ago · 19 likes · 14 comments · Stone Bryson

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Escape from New York

a year ago · 45 likes · 22 comments · Rat

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Friday Funnies #62

Jeremy Mercier — Fri, 24 Oct 2025 22:53:31 GMT

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Friday Funnies #61

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Friday Funnies #60

Jeremy Mercier — Fri, 26 Sep 2025 20:13:36 GMT

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