The toughest month for stand-up comedians is December. While it’s almost always the most lucrative month, it’s definitely the most challenging. The reason? Christmas parties.
If you’re performing at a company party, it’s hard to find a crowd in that “sweet spot” as far as how much they drink. The earlier, tamer gigs during the daylight hours are often held at the work location and may offer drinks to their employees, but you get a sense that the boss holds a tight grip on things. And while he or she says they’re up for being poked fun at, you don’t know them well enough to write true zingers.
These crowds tend to stay sober and tentative, and a lot of the bits you can get away with at a comedy club become too edgy for a crowd (especially with the lights still up). Keep your energy high and don’t acknowledge that it’s not going well for as long as you can. Outside of the office, there are venues that host comedy once-a-month that still haven’t figured out how to properly set up a show, so don’t expect ideal conditions at some place like Ron’s Warehouse of Refrigerators. Another challenge is that people might bring their family along meaning a possibility of children or infants in the room. This is more frequent than you’d think.
The challenge you face when these parties come to the comedy club are the opposite. December crowds are plagued with amateur drinkers with an open bar, courtesy of their employer. You’re faced with crowds of people who have never been to a comedy show, nor have they properly paced themselves for real cocktails. This strawberry daiquiri is way stronger than my usual Busch Light! Their previous experience with stand-up consists of watching Instagram Reels or TikToks of comics handling hecklers (thanks Matt Rife), so they think yelling out during a show makes it better. And what is a club supposed to do? Kicking out members of a $1200 bar tab isn’t great for business.
The month crescendos with what Jimmy Pardo once referred to on his podcast as “Amateur Night” when it comes to crowds. You get inexperienced drinkers. And noisemakers. The last NYE gig I did, they handed out noise makers to the people coming in while I was twenty minutes into my set. You’re at the mercy of the venue trying to ensure its most profitable night of the year.
So how do you deal with these challenges?
The first step is to communicate to whoever is running the show the elements you’ll need. It’s not a given that they’ll have a PA system handy, so communicate that for sure. If you’re performing for a business, do your research. This year I was performing for a realtor company, so I asked two of my realtor friends for some help with the frustrations of being a realtor. They were able to provide me with some premises that went over really well. One party asked if I did song parodies. I hadn’t before, but these shows are also a good time to experiment, so I wrote and sang a song called “Walking in Festus” which took some additional research. It felt good to add something goofy to my routine and to close with it. Customize your act to the town and the business you’re performing for and it’ll go a long way.
If there are younger people in the room, you may have to clean up the context of your act. I’ve stressed that this is where the money is in a lot of these entries. Even when people say it’s okay to say whatever, people feel awkward when you discuss sex in front of younger people.
For rowdier club sets, avoid crowd interaction and then increase your tempo while decreasing time between bits. Hold the mic a little closer to make sure you’re loud enough.
A week before Christmas, I faced one of the toughest gigs I’ve had in awhile. The entire room was over the age of 65 and I’m pretty sure they were all millionaires. It was at a very fancy venue. It was requested that the opener and I get there for dinner (which was the one bright spot). Normally I don’t like to appear in front of the audience or get to a venue more than half an hour ahead of time, but if you can schmooze a bit, it can be beneficial. If they all work together, you’re seen more as an outsider, so socializing ahead of time in this instance is okay. Open with the material tailored for that party. Let them know it’s not you against them.
As far as charging, raise your price. Odds are the gig will be challenging so you may as well profit a few extra dollars. Company budgets are beyond what we would fathom sometimes. Rework the details if they don’t want to pay as much (shorten your set, or don’t bring a feature act). You can even turn gigs down. If they can’t take you seriously and respect what you cost, they won’t take you seriously or respect your performance. No matter what, always bring at least one opener to break the ice. If there are sound or other unique issues, the opener will endure them.
If you can pull off a strong set, word spreads and you’ll get to fill next year’s calendar with more lucrative, yet hellish gigs. Good luck!
For more tips on how to make money in stand-up comedy, check out my book, Don’t Wear Shorts on Stage.