You and Jeremy Dobski will be putting on the second Punx Can’t Laugh Fest in Toronto later this month. How did the idea to expand Punx Can’t Laugh into a festival come about?

The show itself has been a show since January of 2014. This show hasn’t been technically “new” in a while. I was the talent buyer at the Bovine for a very long time. When I was done with Bovine, I didn’t want to book shows full-time by any stretch, but I did enjoy putting on shows. I did enjoy promoting shows, so I wanted to put more eggs in less baskets in that regard. I thought, “Why not make a festival fusing punk rock and comedy? Or an event series using the two?”

Jeremy’s been an old friend of mine from before either of us moved to Toronto for stand-up. We met in Montreal, so we’ve known each other for a long time. He’s been a friend of the show for years and he expressed that he wanted to help me out with the show and he has been. He helped me out last year and he’s helping me out this year a lot. It’s very appreciated.

It was very much post-Bovine era of deciding if I wanted to completely abandon putting on shows and working with bands. You know when you see those memes of emo kids in their 40s and they’re like, “It’s not a phase, Mom!” But for me, it’s more like a punk kid with a Lawrence Arms T-shirt or an Against Me! hat like, "It’s not a phase, Mom!” That’s why I still do stuff with bands and put on shows and events. I’m good at curating these kinds of events. Jeremy helped expedite this and make this work. I’m excited. It’s going to be interesting.

Last year, we had two days and three shows. This year, we have four days and five shows. [laughs] I’m excited! I’m kinda curious to see if Toronto really takes to an event that’s very much a comedy-centric punk rock show. The goal of it is to basically do Def Jam Comedy for people who went to Warped Tour. [laughs] I’m just hoping that this gets received well. Last year, the festival went very, very well, but it was also during Thanksgiving weekend. It was kinda hard to gauge the engagement realistically because there were some people who went home for Thanksgiving. But this year, we’re not doing it on a holiday.

There should be more people in the city.

Yeah! Hopefully, who knows. My partner works at a bar that hosts shows and she grew up going to punk shows all her life as well as me. We’ve seen the ebbs and flows culturally, too. She noticed that there are less shows with pre-sale tickets, it’s not as bountiful as it used to be.

Do you find more people are buying tickets day of or at the door?

That always happens. Paying at the door is gonna happen and last-minute tickets always without fail. That week you’ll always see a spike. It doesn’t matter which genre, venue, whatever, there’s always usually a spike. But in general, I feel like people are a little bit more selective and maybe a little more apprehensive about spending so much money. I feel like post-COVID there was a big boom of everything and then the price of tickets went super high and they kinda stayed there and people are selective now. It’s like, “I just spent $400 going to Deftones and System of A Down so I might not go to the local show at Sneaky Dee’s or the Bovine or wherever for the next 4 or 5 months because I gotta work on paying off that $1000 evening that I had.” Whereas, like 10 years ago, it was maybe $500, not even, maybe less. I feel like it’s a different game now. I feel like a lot more people are being more selective of what they do.

You have a great lineup with the bands and the comedians. What went into putting that lineup together?

I used to do just a comedy show. It would be give or take an hour or 80 minutes of stand-up. Post-pandemic restrictions shows were popping for about a year; it was really, really doing well. Then it started to slowly dip in terms of attendance, so I wanted to find a way to keep the longevity of the show but also make it worth it for myself, for the comics, and for the venue. I worked at a venue, I know what it is. If your shows aren’t doing well, the venue is going to tell you, “Sorry pal, I’d rather sell wings than have your fucking band play.”

I got offered a show for my buds in Fake Friends a couple years ago. It was them and two locals. I was like, “What if I scrap the idea of getting a third local and having a four-band bill? What if I just book three or four comics to do about an hour’s worth of stand-up between two of the bands?” I did that and it was so much fun. I did it at Bar Orwell, which doesn’t exist anymore, rest in peace. That place was awesome. The lady who used to run it, Bronwen, is really sick and she loves collecting furniture. We were able to flip the room so when the comedy happened, we’d set up chairs and the couch in rows as if you’re going to a comedy show. You’d sit down with your friends and your drinks to watch the comedy show and then when the comedy show’s done, everyone’s going to go out for a smoke or go buy a drink anyways, we’d just flip the room again; put the chairs against the wall and have the dancefloor open so people could watch the bands as you would at any kind of punk show. It worked super well.

In terms of the festival idea, I was like, “What if we do a weekend of this style of shows?” It’s fun. It breaks up the monotony. I’ve been going to shows forever, 20 years give or take, if not longer. People have DJs at shows. Some shows at Soybomb back in the day used to have little BBQs or little snacks or potlucks, so people would be eating vegan food and shit. It was almost like half vegan market and then emo bands and punk bands. It’s cool! You have to break the monotony, so why not break it by laughing your ass off watching really funny comics from all over North America?

There is such a connection between punk and comedy. What do you feel that connection is?

Genuinely, I feel like the spirit of punk rock or a punk rock band is more akin to a comic because you have to try to convince people that you’re super funny and they should come watch your show or listen to your podcast or follow you on socials or whatever. When you’re a band, you’re playing because you love music and you’re an artist and you want to express yourself and play your punk songs, but at the same time, you want people to come see your shows or buy merch. I feel like the beginning of stand-up is so much of that. I feel like a lot of the grind and all the shitty things you’ve gotta go through are kinda similar to being a DIY punk band. [laughs] More than ever now. There’s stand-up comics that are selling out very big venues all across the world. They are funny and it’s warranted, but they blew up on socials. The game is always changing. I feel like comics are very adaptive, especially nowadays, and I feel like the spirit of punk rock in general is always like that, regardless.

When you see big rock bands headlining festivals, like Deftones or System of A Down, and if you take them away, there are so many bands on the bill that are better or extensions of that sound. It’s the same with stand-up. There’s big names, but locally, especially in Toronto, there are so many great comics. Yeah, you might not see Nikki Glaser every week in Toronto, but you could see ten comics who are the same, if not better, every night in Toronto. There’s so much out there.

I feel like with some art forms, it becomes subjective. I used to work at the Smiling Buddha, the venue in Toronto, back in the day and it was a lot of fun. Prior to working at the Bovine, I used to promote shows and bartend there. I remember one night I was working and there was a show going on and during the opening band I’m pretty sure the bass player was out of tune the entire time. It was a Wednesday night and there were a good 60-70 people at that show. People bought merch and a friend of ours came up and was like, “Yeah, that second band was awesome!” I’m a bass player, I’ve been playing bass for like 100 years, and I was like, “He was completely out of tune!” But hey, if people like really sloppy, grunge-y, alt-rock-pop, then that’s your thing and that’s ok! There’s some shit I like that people might be like, “Oh that’s dumb or juvenile or whatever.” Whereas with stand-up when you kill, you kill. It doesn’t matter who you are; if you’re funny, you’re funny. I feel like when it expands to something that is so subjective, the fact that we can do something like Punx Can’t Laugh - the show, the festival, the songs that Davey [Knight], the co-producer, and I write - and it’s become a thing that’s still worth putting my energy into is pretty rad.

How do you and Davey come up with the introduction songs? What goes into putting the songs together?

Davey is a fantastic musician all around. He plays drums, bass, and guitar and he can sing. He’s really good at vocal harmonies and arrangements. To be honest, him and I will literally yank 3 or 4 chords out of our ass, it could be whatever. Then we’ll get a little skeleton of what the song is. Sometimes it’s quick, sometimes it’s not, but for the most part, he’ll figure out a lead guitar thing. He’s originally a bass player so it’s rad for him to be pretty versatile as a guitar player too. [laughs] It’s just fun!

Keith Andrews is a really funny comic here in Toronto; he’s a Yuk Yuk’s comic and a good dude. He performed last year. He told me when I first made friends with him that Suicide Machines was his favourite band growing up, he loved Suicide Machines. Suicide Machines are great and that bass player is awesome. I’ve always loved that bass player. So, for his song, I told Davey, “Let’s do an easy maybe 3 or 4 chord punk song,” but we made it into the arrangement of Suicide Machines. Graeme Barrett is super weird and he’s blown up on social. He goes by AudioOpera and he’s huge on Instagram and TikTok. He’s a really funny dude. He’s really quirky. For his song, we made a Devo-style kind of art-punk kind of song. [laughs] Dave Burke, who’s another Yuk Yuk’s comic, is super funny. He’s a very unassuming, regular white dude with brown hair from the Maritimes, but we made his song a super heavy death metal song with growls and double kicks and drop C tuning. Those are a bit more personal because I’m pals with those cats.

Some comics may not be as close, so Davey will be like, “Hey, I’ve been listening to a lot of Gob!” and he’ll play a different octave version of a Gob song and then I’ll do it on bass. Or vice versa, I’ll think of an AFI intro and we’ll just change the tuning. [laughs] It’s either super specific, depending who it is and some are just kinda random. I read an interview years ago - this is how I gauge it, it’s so corny - and you can quote me on this quote, like how Michael Scott in The Office quotes Wayne Gretzky and makes it his quote. In an interview with Alternative Press Ville Valo from HIM, the interviewer said, “You guys have a very unique sound for metal,” and he was like, “Yeah, you never come up with original sounds without plagiarizing first. We purposefully married U2 and Type O Negative.” It kinda makes sense if you listen to HIM.

I feel like so many times, and especially with punk rock, everything gets reused. If Davey and I are having a good day and we’re having a good run, we’ll crank out 5 or 6 songs. Sometimes it’s like, “Hey, let’s do the same chord, we’ll just shift it a little bit higher. Gabe, you sing this one. Davey, you sing this one and I’ll do back-ups.” It’s kinda like playing mad scientist with one of the easier genres of music to play - not to belittle it, if anything, it improves it because it’s so rad! You should learn how to play punk rock because it’s so much fun to play. It’s the best! [laughs] There’s already a Punx Can’t Laugh mixtape on Bandcamp and it’s maybe the first 10 or 12 songs that we made for some of the comedians that did the first couple shows in 2021. It was a long time ago, but they’re still really good and we wanna do more. I even told Davey, “I’m not offended if you select some of these songs maybe for Debt Cemetery or for another band of yours, because some of the melodies are sick!”

I’ve been playing music for a very long time and so has Davey. We’re good pals so we have good chemistry like that and it doesn’t seem like a chore. The only thing that gets kind of annoying is both him and I work in film as our day job so the schedules are not always the easiest to navigate unfortunately, but it’s a lot of fun. I’ve been doing stand-up a long time and I always appreciate the shows where the producer or the host or both or sometimes the promoter give a shit and put energy into the show or add a flair to it that makes it special. Once again, it gets monotonous. Toronto’s a big city, there’s a lot of stand-up, there’s a lot of stuff. Some would argue that it’s oversaturated. So due to that, wouldn’t you want to stand out or make people minimally remember your show? They’d remember, “Oh that guy and that other dude wrote those silly Sum 41-sounding songs about that comic!” That’s how I kinda look at it. In my head, I’m thinking, "Why don’t other producers or promoters put a little bit more effort into it or try to make it more special?”

You released your stand-up album, Mommy, I’m Boring in 2023. What went into that? How did you decide which material to record?

Well, that stupid album drove me crazy! I had that act for about a year and a half prior but I was gonna try to record because I got a mic and I thought I could be crafty in my setup. I was going to try to record my set at FEST in Gainesville because I’ve done my comedy showcase there a handful of times. This particular year, I spoke to the sound tech, they let me plug in my mic and I was hoping that would work but it didn’t, so I had to try again. I worked out with Davey that we would record it at Pouzza a year later and we did but it didn’t record any of the audience. It sounds like I’m doing a comedy set by myself in an empty room. It was so irritating. So attempt 2 didn’t work.

About a month or two later, at the time I was doing this project like a small music festival in Southern Ontario. It had Penske File and Outtacontroller and Don’t Try, and some pretty cool punk bands from all over Ontario. At the time, I was working at the Bovine and I had access to the rooftop, the Tiki Bar. I asked my boss, “Could I do my comedy recording there?” I told Davey and he was like, “That sounds like a great idea!” Recording it live on the roof of a downtown Toronto rock club, what a cool idea. Little did we know, we recorded it in the summer and everybody and their mother’s air conditioning units were on, so the whole thing was me doing jokes and [makes air conditioner noises]. It was bad. Davey was listening to it like, “Dude, it isn’t even worth it.” The patio was packed, it was a great show too! That’s the thing that’s so irritating, the energy was awesome but it just didn’t work. [laughs] In December of 2022, I recorded at Doc Ellis and I had a little party. It was a great show, it was fun. I just wanted to get it out. I wanted to finally release this.

2023 was my 10-year anniversary of doing stand-up and I wanted to have an album out. My album feels like a resume a little bit or a demo reel of what I’m capable of doing. It wasn’t my first rodeo; I’ve released music with a band before, so it wasn’t new, but as a comic, by myself, it was fun. I duped the album on cassette and I’m really glad and proud I did. I bought Dave Ross’s, who’s a really funny comic based out of New York, cassette. I love cassettes. Jeremy also released an album on cassette. They’re cool but also niche. [laughs] I was hoping that every punk tape nerd would be like, “I’ll buy your album!” which some definitely did and I’m very grateful, but man, I really overshot that one.

The album got really good reviews. That’s what I was kind of curious about. Working for myself and doing freelance press for bands for a while now, I feel like if you like punk rock already, you could be introduced to a band within the confines of punk rock and be like, “I’m in. I like that riff. Maybe I hate this, but I’ll give it 2 out of 5 because I still like punk rock and the songs are fast.” With stand-up, I feel like it’s starting to change now, but I feel like it has to work. The reason you listen to stand-up comedy is to laugh; you don’t want to just hear someone talk like a TED Talk or a symposium. People can love comedy and laughing all they want, they can love stand-up, but they ultimately have to take my album as funny. [laughs]

That was what kind of intimidated me at first. The last band I was in was a local Toronto punk band called Back of the Class and it was a lot of fun. It was great to have people be into it, but it was also kind of easy because it was a melodic punk/skate punk band. If you like A Wilhelm Scream, Belvedere, Lagwagon, and NOFX, you’ll probably tolerate my band. I feel like that’s different with stand-up, but I also think stand-up is changing, especially with there being more podcasts getting crazy numbers like Your Mom’s House or Legion of Skanks - which birthed Skankfest, a new comedy festival in the US. I feel like they’re all creating their own things where, beyond being a stand-up fan, you’re a fan of Christina Pazsitzky. I feel like there’s a Kill Tony crowd and a Daily Show crowd because a lot of those individual cats are big, successful touring comedians like Ronny Chieng and Hasan Minhaj. They’re carving out their own niches.

Along with punk and comedy, you also paint and you’ll be selling your art on October 18 at Rainhard Brewery as part of Punx Can’t Laugh Fest. How did you get into visual art?

I’ve been painting and drawing since I was a kid. If anything, painting and drawing were first, and then later on, I got into music and stand-up. There’s weird ebbs and flows because as a kid, I was painting and drawing a ton, especially drawing, because I love comic books, and then I’d get into hockey, then I’d get into skateboarding, then I’d get into something else. Then in high school, I wasn’t the most focused student because of ADHD and stuff so I was always drawing on desks, but I was pretty good at it and I was drawing cool stuff. [laughs] Into college - or CEGEP, because that’s what we do in Montreal - I was able to rediscover it from there going into university, but then the band took off. I was in school, painting a ton and jamming twice a week and playing shows and this and that. I wanted to build a really wicked portfolio, but I was biting off more than I could chew for time so I kind of abandoned art for a while.

During the Omicron variant - [laughs] because we’ve got so many different ones - because I work in film, a handful of jobs were getting postponed because everyone was getting COVID. The partner I was with at the time moved to New York for work so she left and I wasn’t working - no one was working - so I found a random shoebox in my room and I cut it into squares. This ex-partner bought me paint markers so I just started painting stuff. I’d put on a movie, smoke a joint, and just paint. I started to paint more and more to pass the time and to not be bummed out. Often, I felt very anxious and annoyed and kinda sad so I’d paint and it became cathartic. Then I started to sell a bunch and I started to sell a lot to friends with kids, like for their kids which is so random and amazing. It kinda reminds me of Charles Schulz of Peanuts because that guy was extremely depressed but that cartoon was objectively very successful and revered.

It’s cool. I made a painting for my childhood friend’s son. I took a nice photo of it and I made a button out of that one. I like that one a lot, the colour turned out really nice. It’s cathartic and I figured out a way to make it practical. I would prefer to have a studio, but I can make it work in my apartment instead of going out. I can stay inside, relax, watch a movie, eat some fruit, and paint. I think it is healthy for me because I don’t have the best focus. I’ll be working on a painting and I’ll be extremely perfectionist and picky and very anal about it so I want to be focused to make it good. Hopefully, I’ll strengthen that focus muscle. [laughs]

That’s the funny thing, everything spawned from art. The first time I saw a dinosaur I was like, “Well, I can’t touch a dinosaur, I can’t have one, but if I can figure out how to draw one then I can have one.” That’s how my logic was as a kid. I was obsessed with the idea of recreating something because I couldn’t have the original. I was obsessed with creating something that I technically can’t have.

Do you have a favourite thing to draw now? 


I call these characters that I make Imperfections because they just come out of my head. I’ve always loved graffiti. I’m not very good at it. I didn’t do a ton of it, but I did dabble when I was younger. The idea of doing something fast so you don’t get caught and trying to be precise and be on top of something I always thought that was sick. A lot of my pieces are on top of old skate magazines, old photography magazines, old nature magazines, whatever. I have a pile of random stuff in my living room and I’ll paint on it. They all just happen. I’ll select the colours I wanna use in advance.

It’s happened on the subway, if I see someone that’s really ridiculous or they have a funny face or hair or hat or whatever, it’ll stick in my head. I can’t have this guy’s head and he can’t be in my house, but I want to try to recreate that. Sometimes with these, with my Imperfections, I’ll try to recreate someone’s smile that I saw because they have some wild teeth, or maybe they were really tired so they had funny-looking eyes. Just different things I’ll see in a movie or someone I encounter, there’s those influences, but they also kind of just happen.

Like I said, I love graffiti and I love the cut and paste style of art and flyers. I like the idea of taking something and putting it onto something else. I have a procedure where I can do it in my apartment, so I don’t have to go to a special studio to recreate this thing that I really appreciate and love. Fortunately, there are people who like it too and I think it’s pretty sick. It’s so rad because you can portray anything you want as an artist. It’s almost like a tangible resume. But it takes time and effort and sometimes people don’t want to put in the time; they just want something to be quick and fast. But I love it. I love painting.

The other day, I had a meeting with my friend Mike, who plays in a great band called Sago and is a graphic designer. I selected a bunch of pieces and sent them to him because I want to work on putting them into templates for a skate deck. If I could have just one skate shop in my entire life press one of my graphics onto a board of theirs, I’d be happy. I want someone else to be like, “We like your shit, we’ll print it.” That’s a goal of mine.

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How would you describe the comedy and the punk scene in Toronto?

It’s never boring, there’s always stuff going on, especially with stand-up. I do feel it is oversaturated. I don’t by any means want to come across as curmudgeonly or jaded or anything; it’s just from doing it for a long time and being in this city. Toronto life isn’t always easy, especially for creatives. I remember making friends with a woman from Italy who moved to Toronto for work and she was like, “My favourite band is Tool and I love punk and metal.” So she went on the event listings on Blog TO or NOW and came to one of my shows, which is nice. It encourages me because Toronto is a tremendous city. She did that to find my show, so there’s bound to be a lot of random people being like, “Man, I love stand-up comedy, I love laughing. I’m bored. I have my next two days off. I live at Ossington and Bloor, I’m going to check out a comedy bar.” The next thing you know, you might find the next activity that you love doing or the next comic you follow that you think is really funny and go to all their shows. There’s so much going on. This is not a boring city. You can discover some really funny comics and some really rad bands.

Growing up in Montreal and touring across the country multiple times, we actually hated Toronto because Toronto was never really great for us. We played because someone was like, “We’ll give you $50,” and we could try to sell a few T-shirts and go to Burrito Boyz. Growing up, burrito culture wasn’t big in Quebec, so burritos were so sick. It was so silly. Now, I guess there’s more burritos in Montreal. But when I moved here, I started putting on shows pretty quickly, and I started to realize like, “There are so many rad bands in the GTA! It’s so sick!” My opinion about the Toronto music scene before living here has completely changed. I’m like, “I’m on board!” I’ve been accepted by a part of it and I’m very, very grateful. I don’t take anything for granted. I do appreciate it because it is genuine.

There are a lot of rad musicians and a lot of great bands here. It’s sick. I met the singer of Het Up! in March of 2008 and we played with his old band Crooked Hook. They were great. It’s great to see that he’s still playing in rad bands. There’s also new bands like Ashlee Schatze, who’s playing the 18th with School Damage, Real Sickies, and Snakes. She’s played other shows of mine in the past. Her songs are cool! She has a lot of heavy '90s influence. I feel like that '90s alt-rock worship is not new, but the ones that do it well you notice, and I feel like Ashlee is one of them. She’s a newer artist in the Toronto punk scene. It’s cool to see the generations. Dudes my age - and even older - are still making punk rock. Het Up!’s a great band with a unique sound and there’s cats making unique sounds who are part of the younger generations. It’s pretty sick. You’ll never be bored here.

It can be so hard to keep on top of everything. 


It definitely can be. When I used to work at Bovine, I used to do a lot of research. I used to read Punknews, BrooklynVegan, Decibel, Exclaim!, and Alt Press, every day because I wanted to see who was putting out new albums or releasing new music and gauge for a potential show at the Bovine or at the Buddha back in the day. A while back, it did actually become a job, but at the same time, it’s like, “Man, I got to see some really, really cool bands and become friends with some of them.” That’s pretty sick! It pays off, and ultimately, as a music fan, doing press for bands with Cursed Blessings is awesome. I worked on the Seized Up EP and that EP is awesome. I’m just so happy I got to work on it. It wasn’t always easy but still, I did it and it was worth it and it was fun. The band’s sick! It’s made up of members of Good Riddance, Blast, and the drummer from Distillers. They’re a great hardcore band from California. Regardless, sometimes it becomes a pain but you also realize, “I love music and I get to work with sick bands!” or, “I love stand-up and I get to work with really funny comics with good attitudes.”

What are you most excited about for Punx Can’t Laugh Fest 2025?

Two of the shows are Pay What You Can. One of them is at Ted’s Collision. Ted’s Collision is rad! It’s a really cool bar on College Street in between Ossington and Bathurst in Little Italy. They have a pool table and stuff but a few times a month, they’ll move the pool table out of the way and they’ll have bands play. I’m friends with the owner, I got to know him and he’s a great dude. The first show is Scott Reynolds of ALL and Laraigne and a handful of comics with Mike Mitchell from Hamilton headlining. That’s going to be fun because I’ve seen shows at Ted’s and it’s a great spot. I’m kind of surprised that they don’t do shows more often because it’s such an ideal location in the heart of Little Italy, there’s so much going on. Imagine you can eat spaghetti then go to a show. It’s sick! Anyway, I’m excited for that because that’s going to be great.

The first night with Heart and Lung is going to be exciting because that band is great. That’s at Bovine. I love Bovine. The outdoor show at Rainhard is going to be fun too with Chuck Coles and Kenda Legaspi and all those bands and comics. I’m really proud of it. I would say 60-70% of the comics are not from Toronto. There’s a good mix and there will be more comics announced day of kind of thing. The comedians are the entertainment for the entertainment in this weird punk rock circus ecosystem.

One thing that I’m excited about too is that the last day is a DIY show. I’m saying it’s an Ask A Punk kind of show at a DIY venue. We’re doing acoustic acts and comedy, like at Ted’s, and I want to do this skateboarding event called the 333. Normally, it’s called the 666 where you do 6 gulps of a drink, 6 bites of a hot dog, and you try to land this particular track 6 times in a row. But because that’s kinda hard to do, we’re doing a 333; 3 gulps, 3 bites, and a trick 3 times. My pal Jane is going to host it. I’ve seen her host this event before and I thought it was so much fun and she was great at it. We’re going to do that on the 19th which is fun.

The 18th at the Bovine is Real Sickies, that band is awesome. Jason Allen is headlining the comedy portion; he’s such a good dude. He’s from London originally. The whole thing I’m excited about. I never know what to expect sometimes. The lineups are fun, the flyers are sick. I truly wanted to make each show flyer as individual as possible. The show flyer template can get silly and monotonous; it’s like, “Am I at a clinic? Am I getting blood drawn? How am I supposed to be enticed?” It feels weird. That’s why I’m proud that each of the shows have individual flyers made by different artists within Toronto, which I’m really stoked about. You can check them out on Instagram.

Is there anything that I didn’t ask you that you’d like to add?

Big shoutout to Davey Knight for producing and writing the songs with me. He’s very crucial to that. I always want to make sure I thank him. Also 100% thanks to Jeremy Dobski for helping me out this year. We have a lot more comics performing this year and he helps me out tremendously with the workload and everything. Thanks to those two gems, those diamonds.

I care about this tremendously because I love punk rock and I love stand-up. Shows irritate me very often but at the same time, the things you love aren’t always going to caress you to sleep; they might bite you in the dick. There’s always anxiety, regardless if you book one show for your band one time or if you become a promoter or if you put on a festival. [laughs] There’s always that stupid anxiety there which I cannot ignore; my brain doesn’t allow me.

For any orgcore followers - I know all about orgcore, my band W!NSLOW, got criticized for not being orgcore enough back in the day by Brian Shultz. [laughs] I remember it, I’ll never forget. He gave us some nice compliments, but he didn’t really like the album. That’s fine. For any punknews.org followers, if you have a beard or wear flannel and like Off With Their Heads and like IPAs and No Idea Records, this is the weekend for you.

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