TRUST ME I KNOW WHAT I'm DOING

Hi guys, this is Amit Tandon. I'm a stand-up comedian and you're listening to me on Trust Me, I Know What I'm Doing. My name is Abhay Dandekar and I share conversations with talented and interesting individuals linked to the global Indian and South Asian community. It's informal and informative, adding insights to our evolving cultural expressions, where each person can proudly say, trust me, I know what I'm doing.

everyone on this next episode of Trust Me I Know What I'm Doing we share a conversation with comedian Amit Tandon. Stay tuned.

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send me a message over to info at abhidhandekar.com. So if I were on stage delivering standup comedy, I'd likely be petrified, both as a performer and also in trying to create material that someone other than me would find actually funny. But as an audience member, maybe the best characteristic that I seek out in a comic artist would be honesty, manifesting in such a way that it builds connection through laughter and shared experiences. Now recently I was able to catch up with comedian Amit Tandon.

who is currently touring across the world with his latest show called Halwa. Amit is a veteran performer who is known for his clean, relatable, and honest content, which allows him to constantly evolve and hone his well-crafted art. He went from life as a successful engineer and entrepreneur to being the first to have a Hindi solo stand-up show on Netflix, appropriately called Family Dunduncies. Amit's writing and observational style of humor have drawn audience and critic praise alike.

especially with relating personal experiences of marriage, family relationships, and the sometimes awkward and surprising truths that govern our own internal reflections. His style is definitely friendly, intelligent, sharp, and in a way, bonding. And not just because of the relatability factor with Amit, but also the compelling and connected joy that you're left to seamlessly realize with the people in your own orbit. So when Amit and I caught up, we chatted about the nuances of his comedy and storytelling craft.

balancing guardrails and pushing boundaries, AI, of course, and even straddling ambition and satisfaction as an artist. But you know, as I was searching through some of his work, the recurring pop-ups on YouTube were showing online orders for chart and food snacks, and also real estate in Pleasanton, which is heavily populated with Indian families here in the Bay Area. A clear sign, I guess, that the algorithmic keywords and cookies are working well. So,

I asked him to reflect a bit on what he thinks those Amit Tandon keywords might be. ⁓

My goodness. One year in Mumbai when we moved in, we lived in an apartment and we moved out, he moved to the same apartment. And I can't tell you the number of times he's got the queries that work for comedy. Yeah. Well, if you had to put your own keywords on yourself, I mean, what do you think when people are looking for you? What do you think those keywords probably are that the algorithm is finding out about when we're looking for Amit Tandon, the comedian?

⁓ Then it has to be Amit Tandon comedy or Amit Tandon comedian. Then only you reach me. But otherwise, I think even the Wikipedia page that comes out is wrong. people have picked up my profile from Wikipedia and said that I was born in New York. Whereas I was born ⁓ in India. I suppose you could just make up an alternate Wikipedia page for yourself and have fun with that, I'm sure.

⁓ I have a Wikipedia page, think, but it never pops up, I think, because the other Amit Tandon, his Wikipedia page has been around for a longer time. kind of given up on. Yeah. I mean, and does it matter anymore in that way? I mean, you're not somebody who is just starting out. so, I mean, do you still Google yourself? Do you you find that?

that exercise is of any value? No, I don't. don't. How do you feel about that now compared to when you were first starting out? Now I'm more sure of myself because earlier, when you're new, you want to do every show. You don't want to miss out on queries. So that's why you are nervous that maybe people will land up somewhere else. Will they find me or not?

But now I'm kind of very comfortable in my space because now, you know, I know if really somebody wants to find me out, they will. Yeah. Hopefully again, I'm attending the comedian and not the other imposters that are out there. know, so much of comedy and comic art that is resonating and matching to an audience is because it's relatable and that relatability is so critical.

And so is for you so far, has there been a secret to not just the relatability, but to staying relevantly relatable? What I do is that I try to stay. There are actually two parts to answer to this question. You know, one is the art form being relatable and the other is content being relatable. OK, so when it comes to the art form, I think you

will you will stay it's not relatable it's actually relevant you stay relevant in your art form if you keep on evolving if you keep on adding something to your skill set rather than just doing what you were doing 10 years ago and that's also more fun for me as a person you know what I try to do is that every year I try to add something new to the way I perform or the kind of content that I do

Okay. So that's the part that keeps you, you know, relevant. Okay. Yeah. Because if I do the same sets that I was doing 10 years ago, people will log off. They won't listen to me. Okay. And when it comes to relatable, that's the content part. Again, there in standup comedy, how I look at it is that you can't be dishonest. You've got to stay honest with your material. Whenever you are writing.

Put the audience first. Almost have an empathy for the audience. Yeah, you should not think that this is what the market needs or things like that. Right. You can't start catering to a market. You should do material which you think, you know, is, you know, is what is bothering you, you know, what comes to your mind. And you'll be surprised how many times people will find it more relatable.

than when you try to cater to a market. So the more honest your material is in comedy, I strongly believe it works much better than trying to write material for a particular market. I'll write for young people, I'll write for older people, I'll write for these people. People like middle-class jokes, so let me write middle-class jokes. No, that's not how it works for me. You mentioned the word honest. There's an honesty in there, right?

And then you also mentioned the word bothering. And so when it comes to that honesty, is it something that you have to toggle between something that tickles people versus something that bothers them? And is that something that you have to analyze pretty frequently and reflect upon that, particularly after each show, after each tour that you do? So the funniest bits are the ones that come from things that are of, you know, that are pain for people.

How people define comedy is tragedy plus timing is comedy. So whenever you will pick up a pain point and talk about it, people will laugh about it. Sure. Again, because it's relatable. Yeah, it's very relatable. You're picking up an issue that bothers them as well. So if you look at most of the sets that I write, and ⁓ it's one of the techniques in comedy also in writing that

When you don't find a topic to write about, just think about all the things that bothered you in the last 15 days and you'll find enough topics and it will be very related. Yeah, I'm sure that people could write volumes on things that have bothered them in the last 15 days for sure. Let me ask you this. mean, in the same way that you just mentioned trying to write and trying to observe and staying honest and

thinking about what's bothered you or perhaps an audience member. Over the years now, you've had a front row seat to what's worked and what hasn't worked. And I'm curious, have you become maybe a better listener and a better observer of your audiences, such to the point that that has allowed you to continually perfect the craft and almost work on testing things out a little bit easier?

Or has that stayed the same over 10, 12 years? Not of the audience. ⁓ I have become a keener observer of life as such. ⁓ Yes, I know a few things about ⁓ what people laugh at and what people don't, but nobody can say, no comedian in the world can say that they know everything about what will work and what will not.

That's why we still do trial shows, you know, whenever we write a new show, first we do trial shows where we try out and material and see what people will laugh at and what people will not. Sometimes what you think is a premise is what people find more funny than the punch itself. So I would not say that I know what audience will laugh at completely all the time, but I become a keener observer of life as such wherever I am, you know, whether I'm at

home, whether I'm having my cup of coffee, whether I'm sitting with my friends, or I'm at the airport, I am now more aware of how everybody around me is behaving. That has definitely changed. Now, as someone who is, know, gracefully aging at the same time, are you more aware of all that's going around you because you are a comedian? Or

simply this is the part of life that you've gotten better at. Meaning that like everything around you you're listening and observing for because that's potentially, you know, something for you to translate into a written joke or a bit in your next act. Yeah, so it's more because I'm a comedian because as a comedian now, you know, your brain is 24 hours at work looking for new material. Is there something interesting? Is there a joke that I can do around this?

So it's because of my profession more than my age.

You're listening to Trust Me, I Know What I'm Doing. After a quick break, let's come back to our conversation with comedian Amit Tandon. Stay tuned.

Conversation, it's the antidote to apathy and the catalyst for relationships. I'm Abhay Dandekar and I share conversations with global Indians and South Asians so everyone can say, trust me, I know what I'm doing. New episodes weekly wherever you listen to your podcasts.

Hey, this is Kal Penn. I'm an actor, author, former public servant, and you're listening to Trust Me at Know What I'm Doing.

Hi everyone, this is Chef Vikas Khanna. Hi, my name is Aditya and on the internet I'm known as the Brewkenstein. Hi, my name is Sindhu Vee. I'm a stand-up comedian and an actor. And right now you are listening to Trust Me, I Know What I'm Doing.

Welcome back to Trust Me, I Know What I'm Doing. Let's rejoin our conversation now with comedian Amit Tandon You have, let's say you make this keen observation, it tickles you to no end or it maybe bothers you to no end. you know, as someone who is really storytelling with your jokes and you're crafting and weaving a story in front of your audiences, for those jokes or stories that you find

absolutely hilarious, but they don't sit necessarily seem to land with others. Are they just doomed to just stay in your head and continue to tickle you that way? Or is there a place for them down the road someplace? So there's a saying in comedy that there is nothing that's a bad set. It's an underwritten set. Yeah. So sometimes I have a very funny thought. I think it's very funny.

But I'm not able to communicate because I've not written it well as yet. Sure. So I'll go back, you know, to the drawing board and try to find a better way of communicating it because then I think that, you know, maybe I still don't know how to tell this story. I'm not setting it up right. My premise is not right. My beginning is not set or middle is not set. So I keep it in a bank and

come back, revisit and see how I can because there are sometimes there are sets that that just sit in my mind for a year and a half, two years because I don't find the right way of communicating them. I take them on stage and I find out that no, it's not working as yet because I'm not finding the right way of telling it. Yeah, there is definitely something in it, but I'm not finding the right way of saying. Yeah. Well, does that take practice?

I mean, is that somewhat different now that you're a little more seasoned in your career? Have you had to think a little bit about that? And I imagine that sometimes maybe somebody who's not as seasoned as this would tell a joke or have a story that they think is incredibly funny. It doesn't land in front of an audience. And then they immediately regret that instead of thinking about it as a growth opportunity. Yeah, now it's better. ⁓ Yes, with years you realize there are ways of communicating a joke.

You know, like I would try to use nostalgia. I'll try to see if I can put a story around it. You know, it could be a great observation, but as an observation, it's not working. But let me just weave it into a story and see if it sits with that. Maybe add another character who can say this rather than it coming from me. So that's another thing that happened. You know, I'm talking a little technical, but that's okay.

Sometimes, for example, you want to say a line, but if you say it, might sound a little rude. So you add a character to your story who says it and then it becomes funny. Right. Third person. Yeah. Add a third person and make it funny. So a lot of those tools with time you develop, so it becomes much easier. For someone who has that very analytical mind,

that's somewhat easier of a job when you're simply riffing or up on a stage alone, or you're writing as a solo artist. And yet does that change at all? Does the calculus change when you're collaborating, when you're actually having conversation with somebody else? I mean, with three or four of your friends and you're trying to manufacture something that's funny because...

automatically I'm sure that there are lots of people around you who just come up to you and expect everything to be 100 % hilarious all the time when, you know, life doesn't work that way. Yeah. So one, I don't riff too much on stage because I try to write my material first and take it on stage. Very few lines I'll add with friends. Yes. Now my friends know that they can't expect me to be funny all the time.

Unless I'm trying new sets with them. So that happens that you know, when you know, whenever I write a set, then I would test it. I'll call up a couple of my friends and try it with them and see how much they laugh and then take it to stage. that somehow, you know, certainly it it creates an iterative way for something to be successful. Do you ever miss sometimes just the spontaneity of being

someone who can riff and just improv your way through some time up on a stage or even with some of your friends? ⁓ I think what I miss sometimes is the time when I was taking, you know, risk in front of unknown audience. Yeah. That's the time that I miss because now every time I get on stage, people know who I am. So one, it becomes a little tougher to take, you know, a new set on stage.

Hmm. Because even when I'm going to an open mic and then they announced my name, then there are 50 people who are like, ⁓ okay. Okay. So it's Amit. So it must be very funny. Right. Right. When you're doing a new set, you're not supposed to be funny all the time. You will die on stage. Okay. I think as you become more of a known name, the more you become popular, dying on stage becomes tougher. Yeah. So that's. ⁓

something that I miss from my earlier days when I could just go on stage completely fearless, 50 people, nobody knows my name. It was tougher to build your credibility because you have to build your credibility in the first one minute every time you got on stage. Well, do you have to then fight off some complacency or even like the plateau of not being in a place where you're constantly taking risks and you're really kind of pushing boundaries?

Yeah, so you've got to be more conscious. now what I have to do is I, ⁓ you know, I go to open mics, I try my material, sometimes it will fail, sometimes it will not. So I force myself to do that. And second, as a comedian, you can't play safe ever. Because every year and a half, I have to write a new show. I have to write a new one and a half hours. Okay. Which

You know, when you are an open mic or when you are new in the scene, you can probably write half an hour of material and will, you know, it will work for you for five years. But now I can't do that. So the profession is designed in such a way that even when you are very successful, you have to take risks. So now, you know, what I do is that, you know, I, my process has changed. Now I normally would try to write a complete one, one and a half hour show.

and then take it on stage, you know, with trial audience of 20 people, 30 people, the smaller the number, the tougher it is. Sure. Which people don't understand sometimes, you know, people might think that, you know, addressing a thousand people is, you know, is challenge. But doing the same set for 10 people is a much bigger challenge. ⁓ in a thousand people, there's always a momentum of 200 people who find you funny.

Yeah, the 200 people who will always be laughing. But in 10 people, OK, there's a chance of deafening silence, right? Absolutely. And you can see every face now. Yeah. When there are 10 people, you can see every face from the stage. You can see every expression and there can be complete silence a number of times. And that's where your material is really tested. How much does your wife keep you honest and

and not complacent in this exercise. Because at some point, I imagine that the people who know you the best are the ones who are both helping you stay away from being complacent and also giving you the opportunity to take the most risk. Yeah, she ensures that I stay grounded that way. She'll always give feedback. Whenever, you know, I bounce off some jokes, she'll tell me that whether it's funny or not. That way, she's honest and

But that's true for your audience also. People will laugh out of pressure for first five, seven minutes, but after that you have to really work hard, especially in a small crowd. I wanted to ask you one thing. Every single culture, it doesn't matter where you are, what time or what generation. mean, every culture, every generation has comedians and artists that are pushing limits and maybe overstepping in that particular moment.

Ranveer Alabadia and certainly Purnak Umrak recently kind of fit that maybe a little bit, but are you someone who tends to be governed by any boundaries or guardrails? Whether those are self-imposed or even the ones that you see are kind of current with the temperature of the times or even at the temperature of your audiences out there.

guardrail that was self-imposed long time back, you know, I was that I, I did clean comedy because I, you know, even when I started doing comedy, I had, you know, I already had a family as living with my parents and, ⁓ know, we had kids. I was, ⁓ you know, used to watching my language at home. Okay. And for the first one year when I started doing comedy,

you know, I was doing all kinds of jokes because that was the atmosphere. Suddenly you could see that, you know, you could do edgy stuff, this and that. Later on, once I started performing for rooms that were filled, okay, with people beyond, you know, just the younger open micers. I realized when there is, there are older people in the audience or there are kids in the audience.

I was just not able to use any of that language. You it just didn't come to me because I felt very uncomfortable. Sure. Okay. So that's when I decided that I'll just write material that I can perform anywhere without thinking who's watching. Sure. So that was a guardrail that I had, you know, that was very much self-imposed. And later on, I realized that, you know, I was, you know, people said that, you're very clean comic. We can watch you with anybody and all that.

that kind of came in after that rest. Yeah, I stay away from politics. I stay away from politics, political jokes one because that's not an area that I was even initially writing about. Okay. Sure. Was not the area that, you know, really bothered me or was just with the changing time you kind of say that better to, you know,

stay away from it unless I really want to fight that battle. Today what happens is that if you open that ground that then it opens on all fronts. It will be everywhere on social media so you got to be mentally ready to get a hundred DMs about it. You will get five interviews where you have to start talking about it. Then I don't have the mental peace to pursue what I'm trying to pursue. And that was that.

Yeah. Well, and I mean, maybe sometimes in that way, right, for your own peace of mind, those guardrails are are important. And yet do they ever stifle or squash the innovation or even the aspect of not necessarily finding new audiences, but just even the material changing because the times are changing and, you know, comedy has to evolve and meet some of those times. I can see the importance of the guardrails, but do they ever offer a limit?

⁓ on your work? ⁓ Limit? Yes, in I'll tell you where I felt its ⁓ limits. I think in India people still don't get satire completely. ⁓ And it can sometimes really get into a dark space. And it's not for stand up. But long time back, I wanted to do a series of videos just with a friend of mine where we are two men who are

judging women. Okay. But it came from the point of view of purely satire where, you're showing that this is how, you know, men end up judging women. Okay. Right. But I know in India people will not get that half the time. Yeah. And I'm even thinking like, you know, for the most part, right, depending on how that lands or how it's elegantly set up, it's a trap, I'm imagining.

Yeah, so it's better that you don't do it. you know, for example, in the US, if you see a lot of satire happens around, you know, the black community, for example, with a lot of those sketches that you will see, whether those SNL sketches or whatever, where they're talking about the issues that happen with black community, but in a funny manner. Sure. So similarly, we have issues here. But I think it's

you know, it's still not time to touch those issues with satire in India. And I think that because you're right, right? The SNL here is a good example that like sort of in some ways and in some environments, anything sort of goes. ⁓ And it's set up in a way the environment is it's assumed that satire is going to touch just about every part of society. But, again, the audience and society probably has to be ready for that. Yeah. I'm curious when you think about

some of your best shows and some of your worst shows, right? When you think back to how those have gone, is there an anatomy to a good performance that transcends whether you're performing for a small audience of 20 or a large audience of several thousand, whether it's in the US or the UK or India or Australia, anywhere, is there an anatomy to how a show goes that is one that you try and follow

based upon kind of the experiences of having both good shows and bad shows in the past. The anatomy is largely in comedy. The anatomy is largely around the setup of the room. Because you want the undivided attention of people. So typically if it's a theater show, which is a ticketed show, with just that one light on you and you have a mic and everybody else is almost in complete dark.

is the best way to perform because then there is no distraction. Okay. Yeah. For the audience and for you. That's what we prefer as, you know, as comedians, if you go to a comedy club or to a theater, okay. You'll see the setup is like that, that, you know, you can't see anywhere else in America or, you know, in, the Western world, an additional advantage is that they also don't let you use your phone.

If you watched Broadway, for example, you'll see that even if you just pull out your phone, some will come in and tap your shoulder and say, keep it back. Second time you'll be escorted out. So, you know, in standup, we can't drown out people's voices, you know, because we are just talking. It's not like a musical concert where people start talking to each other and it doesn't make a difference to the...

you know, the musician, because there's so much music, it's so loud. Here, even if there are a thousand people in the audience, if two or three people start talking, I can hear them. Because I am also just talking. Right. Then ten people will start looking at them. So the anatomy of a good show is, know, basically the undivided attention that you can get of people, which is ideally in a theater or in a comedy club.

I imagine that that probably also develops and cultivates an enduring relationship, right? Because if there's an intimacy that you have with an audience where they really felt that like you were connecting with them, then those people are going to obviously want to see you again and they're going to want to hear your content. They're going to want to come back for more. You're listening to Trust Me, I Know What I'm Doing. After a quick break, let's come back to our conversation with comedian Amit Tandon.

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Hi there, my name is Abhay Dandekar and you're listening to Trust Me, I Know What I'm Doing. Let's rejoin our conversation now with comedian Amit Tandon. You said recently, I read, know, audiences want more from comedians and they want intelligent, well-crafted jokes. So for someone who's a storyteller and a comic artist, how do you deliver on that consistently? And as you just mentioned, maintain that kind of captivity of an audience.

But particularly, especially as audiences, you know, their choices and their attention spans are incredibly short lived and fickle and they may turn on a dime in that way. So how do you continue to maybe capture their attention and stay in a longer format, intelligent, well-crafted storytelling weave that's often required to deliver on really good material? So for that,

Basically, I have to work on myself. I have to ensure that I improve every time I write a new show. Okay. So whenever I write a new show, I keep on asking myself, is there something new that I've done this time? For example, last show that I traveled to us was 95 % was just pure observations. Okay. The setup was.

I had like five or different sets where every set started with the premise and rest of it was observations which justified it. So the next show that I wrote, I decided that it has to be completely different from it. So the new show that I do now has moved from observations completely away from observations to storytelling. Okay. And it was not easy because

the earlier show, the show that I did in US was getting such great response that it was very easy for me to fall into that trap and say that let me just write another show with purely observations. Okay, because it's, I know it's, this is a template driven format that I can write quickly. And I could have easily written another show with in that format.

But there, if I had written another show like that, next year people would come in and they'll realize he sounds the same as he sounded last year. Right. No, I was just going to say the audience probably is not loving repetition in that way, right? They want something fresh. Yeah. So you got to consciously keep on improving yourself so that the audience doesn't get tired of you. Yeah. And I don't get tired of me. Actually, that's the other part of it.

Because like when I get on stage, I want to be excited myself as well. Which is a hope that everyone has, right? I mean, no matter what profession you're in, trying to stave off getting tired of yourself is probably the number one goal to prevent burnout. You want to look forward to your next day because now when I wrote my next show, which was completely different from the first one, OK.

There's a certain sense of achievement for me as well. That I have, you know, I've just done like five stories in one show from, you know, moving completely away from observation. And it's, it's working. It took a lot of effort. Honestly, otherwise if I wrote another show like that, I could have, you know, done it in a month and a half or two months. This took me five months to write. You know, the joy that you get out of it. It shows up on stage also and

It connects with the audience. You mentioned knowing yourself well and in a way growing. ⁓ What if you had to unlearn about yourself or even undo from your pre-comedian life in order to really enjoy the success that you have now? Actually, I have unlearned a lot from those days. I really woven myself out of the

net that I was in ⁓ during those days over a period of time because you you realize how wrong you are in a lot of ways or maybe, you know, the circumstances have changed. So that happens, you know, as a, as a comedian, because the variety of people that you meet, you know, I was suddenly with a much younger set of people because when I started, I was 35 years old, but most of the comedians were in their early twenties.

So that changed my perspective in life a lot outside of comedy also that how much things have changed and you realize in a lot of your thinking how regressive you were. So that happened because of comedy. you and because you now have realized those regressions and for that matter what you've had to undo or unlearn, do you live your life differently now? Yeah, much differently.

much differently. I think it shows up in the way we brought up our kids, the kind of support system and the kind of communication that we had with our kids. There it made a big, big difference. Yeah. Making you, I mean, do you feel like a different father or a different family member? Because yeah, yeah, yeah, very different father. Let me ask you this. You know, if if aliens landed on the planet and ⁓ and if they asked chat GPT,

I was thinking how to ask you this and I've been just curious if aliens, if aliens land on the planet and they ask chat GPT to create something in the style of halwa and with a typical Amit Tandon story and clean comedy, how would they be able to tell you apart from the AI version of you? ⁓ See, AI, think will know as much about me as is available online.

Okay. But my experiences, I don't think AI will know that much. Because what happens is that every time when you write a show, you are talking about new experiences that you had with your kids. Unless AI was listening through an Alexa, which was secretly placed at our home, they would not know. Yeah. Well, mean, do you think the technology is getting so good that

If it were to analyze an entire body of your work, including halwa and some of the more recent shows, do you think it would be able to predict your next secrets for that matter? Or do they still stay secret with you? Right? Like, mean, only you know what spontaneously is going to come next. I hope only I know, but I don't know how much technology has advanced. Honestly, keeps on surprising all of us. Is that a threat for comedy or art, you think?

No, I don't think it's a threat to comedy. It probably would be a threat to comedy when it comes to written jokes. Okay. But as standup as an art form is not just a written joke, but it's also the performance, the connection that you have when you are talking on stage with the people, you know, define you likable or not. So all of that comes into play, which for which you need a human form.

would probably still write the content, but the performance is an equally important part of it. Yeah. And again, with a human audience too. So hopefully those two factors are not going to go away anytime soon. And you mentioned this idea of, you know, still there's some spontaneity, some secrets and some ways that you continue to grow. Is there a sweet spot then as a comic artist that integrates this idea of being content and satisfied with your work?

and the success you have, and then the innovative part and the drive and the ambition and the feeling that you need to continue to grow and scale and the potential of getting even bigger. You keep on swaying between these two. It's like a pendulum. Sometimes you're very happy with what you achieve because sometimes I look at what I've done so far and I'm like, I was in a job, then I was running a business, nobody knew me and now I'm doing

you know, tours where I'm doing 2000 3000 seaters in different cities of US and yeah, form the so I'm very happy with it. But then next day you're like, I have to write my next show. Back to the drawing board, right? Yeah. So you've got to keep this on all the time. So yeah, so that keeps on swinging it. There's never like a one single state that

Do you find yourself hopefully in some steady state on that pendulum or is it something you have to manage? You got to manage it. ⁓ I think if I don't get insecure about my content, then I'll not write new content. But overall, I'm pretty happy with where I am because over the years, you know, after writing so much material and so many specials, at the same time now I have that

one part of me knows that I can write another show. Because that's the stress that you always have, which I had for a long time that people are finding this funny, they're really laughing a lot. Can I write another set where people will find as funny as I've written this? And the answer is probably yes. Probably yes. But it keeps on getting tougher because

You've got to dig deeper in that well now, you know, of your observations of your, you know, of your experiences. You like, you started with the surface in the first session, and I'd in the second layer, third layer. Now you are already 115 feet deep. ⁓ How much more is there? Yeah, there's a lot to dig there. That's for sure.

Yeah. Well, and it speaks to, again, confidence and trust and the things that come with experience. Let me get you out of here on this. You know, for those people who are certainly enjoying all of your work out there, there may be some who are discovering you for the very first time. And, you know, for those folks who might be actually seeing your work live or or streaming online and they're experiencing it for the first time, how do you hope they feel after

experiencing some of your work? I hope they remember a couple of jokes out of what I've said. They find something that they can tell somebody the next day. That's all my expectation is because that's how I try to write my material to write jokes that survive beyond a day in your mind. Well, surviving beyond a day, I'm sure surviving well beyond that, but lots of people I'm sure are telling each other

great stories and great jokes that they heard from Amit Tandon. Amit, thank you so much for sharing some time with us. And I hope we can visit with you again down the road. Thank you. Thank you so much. And please check out Amit's global halawa show as he takes it on tour. A big shout out to all the grads out there, but especially a big go bears to my one and only Vaidehi. Thanks again for listening and subscribing and rating wherever you might be listening or watching right now. Till next time.

I'm Abhay Dandekar.