Joel Sanders is a British Comedian with extensive live experience across Europe and North America. Based in the UK, he has now performed professionally in 28 different American States and is working towards becoming the first British Comic to work in all 50. His credits include opening shows for Robin Williams in San Francisco.

OK Joel, how did you start performing comedy and what keeps you doing it?

I started at college and never stopped. I keep doing it because I am good at
it and I enjoy it hugely, more so now than  at any time in my past. I have
worked hard to build a full toolbox of comedy skills and now that
I have the collection I have desired for so long, I'm not about to throw
them out. I also keep doing it because I want recognition and respect from
the Industry and do not feel that I currently have it. I am very good at
comedy but  a lot of key figures in the business do not know it. If I call a
promoter in, let's say Chippenham, and that Promoter does not want to give
me a gig, my reaction is not, "Oh dear!! I really wanted to go to
Chippenham," it's "That promoter does not believe I am of a good enough
standard to play his/her room," and to say I find that awkward is an
understatement.

What part do you think promoters play in encouraging the growth of new
comedy? Is it enough to offer open spots, or is there more?

Different promoters play different parts. Some do nothing; some offer open
spots; some run competitions; some run workshops.  The motivation is
sometimes a sincere desire to support new talent; occasionally it's about
filling all/part of the show at no cost to the promoter.

I don't think any promoter has an obligation to support new acts. The
industry is over-saturated with average and below-average comics and, of
these, only a minimal number will stay on the scene on the strength of their
perseverance.

I think that when a promoter sees someone with a special talent, then there
is an obligation to be supportive. Give that person stage time; pay them
when they are good enough and tell others. By and large I would say that
already happens.

What do you find is the best way for you to approach/contact a
promoter?

 
I send a lot of videos and I speak to a lot of answering machines. I don't
think either is the best way. My feeling is that in-person is best but this is not
always possible unless - and I commend those who have done this - you turn
up at places on spec and charm your way into the promoter's heart.

...

Short, unpaid spots at venues where I am unlikely to be seen by someone who
may be able to advance my career. For new comics, however, short unpaid
spots are very beneficial. I am no longer at the stage where I need as much
stage time as I can get but if there were skills/material I wanted to work
on, I would take any opportunity to do so, anywhere.

I don't like many free-admission gigs either. I recently did one with poor sound, no lights and a large and loud audience who did not know that comedy was a part of their night. Occasionally, I don't mind doing a 'hell' gig as a measure of my own
competence but I'd hate to have such experiences night after night.

There aren't any kinds of promoters I'd avoid. There are, however, a small
number of individuals (two spring immediately to mind and neither of them
are based in the UK)

What impresses you most about a club you perform in - and least?

What impresses me least?  - factors which detract from the show - eg noisy
bar, people talking, food served at tables during show, poor lighting or
sound or staging, show doesn't start when it's supposed to, poor local
publicity, bad seating arrangements etc 

So what impresses you most?  

(1) An audience who enjoys me more than anyone else
on the bill. 
(2) Antonyms for each of the above.

How do you see yourself progressing in the comedy world - and ending up
where, one day?

Short term - headlining across clubs in the UK and  beyond. More TV work. I
also suspect that as my profile as a comic rises, I will stop promoting.
Long term - if I can find a unique, strong enough hook - one that captures
people at a deep emotional level - who knows where I'll end up? Currently, I
am a strong, working comic with, I think, a fresh perspective. I know that's
not enough to get me into the big time so I am always looking for ideas that
might change that.

Finally, if you had one key piece of advice for new acts, what would it be?

Focus on connecting with an audience and be aware that the way in which you
connect may have to differ from night to night. If you cannot make a
connection, you cannot expect to receive the reaction you are looking for.