Lynne Hoffman (2:57)

Yeah.

Jeremy DeBarti (2:57)

And that's what it's like to be in the band is the band is constantly in some situation where, like, you know, the first take is funny, the 10th take, it's not as funny. And then the 20th take, it's like, all right, what are we doing? Like, people are sweating and going, okay, we're doing this again. And I'm like, yeah. And then it becomes funny again because you're wearing like a child sized Telemundo superhero outfit and you're in public in front of people doing something dangerous or illegal or there's like cars honking and I'm actually blocking traffic to get this take where I'm like pretending to get hit by a car or something. It's like, it's, it's, it's never short of. It gets absurd really quick here. You know, the band doesn't know that when they sign up because it's not like I pitch it to him like, well, it's a band. But it's also going to be doing like, theater, performance art sometimes. There's also some sketch comedy. They just show up and then I put them through hell. And you can't help but laugh in the end because I don't know what he's doing, but he's doing it.

Lynne Hoffman (3:59)

I. I love that. And, and any chance that you could do that for a living has got to be like a dream come true. And I would love to be a band member, even if it was just shaking a tambourine. I want to get into this more detailed with you. Oh, thank you. Let's find out what my job will be when we come back right after this with Jeremy DeBarti from steal beans. Right after this.

Jeremy DeBarti (4:21)

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So that means half day.

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Jeremy DeBarti (5:26)

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Lynne Hoffman (6:45)

Comedy Saved Me welcome to Comedy saved me. Jeremy DeBarti for people who haven't experienced Steel Beans, your incredible band live, how would you describe what happens at one of your shows and what is the energy like not just from the stage.

Jeremy DeBarti (6:59)

But also the audience for for almost 20 years, when I when I get up with the band behind me, it's kind of an, it's more of an orchestrated thing with the band. It's song after song and there may be a theatrical bit I have planned or I don't have planned that ends up happening. But in my solo show where I'm by myself, it's completely, you know, like sometimes 30%, sometimes 60% of it is totally free form and anything can happen. And there's just this, like one of my favorite things in the last couple years has been taking the solo show in front of audiences that only know me from the Internet and then finding out really fast like, damn, this is such this could go off the rails at any second. And it does. I take enough risks that it does fall on its face. And, you know, I'm not doing just solely stand up, but there are times where I'm improvising long enough that it's riding high. And then it kind of. It kind of starts to bomb a little or drag. And then I win everybody back by twisting the energy and bringing up the tempo or doing something and. And I feel like there's this constant balance where anytime something goes too. It gets a little too deep or emotional, I have to offset that by doing something silly or something funny to take the light. It's almost like getting everybody to go. Honestly, the solo show, I think the presence of it itself is like, kind of. It's confusing and almost intimidating because I get into it, I'm slamming the drums, and then when I'm done, I'm like, so anyways. And that's like, that's the dynamic I'm constantly playing with. And I avoid toying with people's nervous system, for sure.

Lynne Hoffman (8:50)

Oh, absolutely. Because you know that the audience feels for you while you're up there, so they want to support you. But if they feel. Feel like that you're seemingly bombing or going some awry place that they, they. When you give them the okay to laugh at it, they feel like, thank goodness.

Jeremy DeBarti (9:09)

It's like watching somebody on a tightrope. You're so worried for them, you're like, oh, this is going to go wrong. He's going to drop a stick. He's going to do this. But really, I'm just. I'm making it look harder than it is because it's what I do. And it's. It's actually pretty effortless for me, or pretty, you know, I'm. I'm locked in. I'm in a flow state. But if something does go wrong, they find out that I'll just make that part of the show, no matter what. If I die trying, doesn't matter if I rip my pants or I mess up a part or something goes terribly wrong, I'll just turn that into the part of show, flip it on its head, and then make that the joke. And it's like, that's just worked for me. And it's from like, you know, going on 20 years of stage time. I did these shows with Tenacious D and then Tool a couple years ago. First I went from playing to 20 people or a hundred people to like 16,000. And dude, that never once phased me. I just walked out there and I Felt as comfortable as I would have here in my room, at my house.

Lynne Hoffman (10:10)

Yeah, that's what you're making me. You made me feel comfortable. Like I was at your house immediately when you popped on the screen. And I've never met you before. And you also have a very playful energy about you. Comedy and, and with, not just with your performances, but just in your personal interactions. So it's very disarming. So I can only imagine, because I haven't seen you live what it's like in that type of setting, and you painted quite a picture. Was this always your plan or part of your musical identity, or did this develop for you over time? You mean because you started with music very young, right? You started like when you were three, playing the drums?

Jeremy DeBarti (10:46)

Yeah, I, I was banging on pots and pans and my grandparents put, you know, buckets in front of me, and then when I played the buckets, they put a little drum set in front of me. And I never had any lessons. I wasn't no prodigy. Like now on the Internet, you see kids that are three and they're like, I wasn't like that. I was like, boom chat, boom chat. I, I was having dinner with these people a few weeks ago and my grandpa was there and I was just, I, I just being the 16 year old, 37 year old that I am, and they looked at him and they joke, has he always been like this? And he goes, yes. I would go through my grandma's closet and put on like these little. I called them my tappy shoes. I don't know what they were, but they're like these elastic ankle band shoes. And I would tap around and like, I'm always trying to put on a show or something, but, but not into like, I was never an attention whore. I just, I'd be off in my own world, doing my own show by myself anyways.

Lynne Hoffman (11:44)

So did you like making people happy and feel good? Is that sort of a thing for you?

Jeremy DeBarti (11:50)

Yeah, I think that that is one of the meanings in life, if there ever was one. But also, again, like, so much of, so much of my story is like inadvertently doing things, you know, like, I feel strange to say this, but no one else is here to say it for me. But I have changed some people's lives in the local, you know, art community. And the people that have been in my band now, which is almost 50 people, I've seen some of those people go off with a fire under their ass to really get their thing together. And, and people that used to be in the band have gone and formed their own bands years later and, and yeah, I feel like it, it has brought some people up, you know.

Lynne Hoffman (12:31)

Wow, that's, that's very, very cool that you're not only you're doing it, but you're inspiring others to do it as well.

Jeremy DeBarti (12:38)

Yeah, I, I try not to soak in it too much because it'll choke me up. It, it puts a lump in my throat to think I'm having a positive impact on anybody because I've just been sitting in a bedroom writing songs as a totally self serving addiction for so long now that when anybody messages me or like, I met a guy at a show in Boston, I met a guy in London, he's lost his leg in a motorcycle accident, sold his drums and then he saw my video, he started watching my videos and he said, I finally got a prosthetic and bought drums again. And I, I'll cry just talking about it. But that's the craziest thing. You never imagine when you're sitting in your bedroom just going, that you'll go out and somebody will hit you with that bomb, you know, that's not an.

Lynne Hoffman (13:28)

Easy thing to take. I mean, when someone tells you that, what do you even say?

Jeremy DeBarti (13:31)

I mean, I try not to tear up and I, I don't know. I don't know. That's such a, that's such a heavy thing to, to say that, man. You know, I, I could only feel this shift in what was the thing that I do in my basement or whatever is now the people to some extent. And if somebody somewhere is in traffic and I make them smile, it's like, damn, that's just such a higher purpose for all of this rather than just amusing myself.

Lynne Hoffman (14:00)

It's pretty awesome. You know, a lot of musicians take themselves very seriously. Yeah, I've interviewed many of them over the years, but on stage mainly even more. So what made you decide to lean in on the humor part and entertainment side of performing? Because I've really never witnessed anything other than maybe like a Weird Al or you know, a Tenacious D. I think.

Jeremy DeBarti (14:29)

That'S an interesting question because for me, I've never like, I've made some silly songs, but really I've kind of like separated the. Or at least over time I've separated. The songs aren't inherently silly. I'm just silly. And I think that in the early stages, like 2005 or the early 2000s, I was playing house shows or my first shows playing in bars. It kind of takes the pressure off of like, oh, what If I fuck up, you know, everybody I know, I got everyone to come out. My folks are here. You know, I think that you just kind of start to. You gotta lighten it up. And. And it's. If you mess up, it's not the end of the world. And having a sense of humor on stage really bridges that. But it's. A lot of people never get that comfortable, you know?

Lynne Hoffman (15:16)

No, and that's extremely comfortable to be able to show your weaknesses, like, just. But. But it's. It's got to be so inspirational to see someone almost appear to fail, but then turn it around and rise like a phoenix. It's. It's like that old story that. But you do it all in one show, as opposed to an entire movie where the good guy wins in the end, you know?

Jeremy DeBarti (15:37)

Absolutely. You know, I mean, here's a major shift for me is that when I had a trio in 2006 or seven, and I was first doing these shows, I would tell jokes and joke with the audience in my talking between songs, and the rest of the band would be kind of like, adjusting their. The knobs and kind of like, all right, we're gonna play a song. And they'd get frustrated, and that would really piss me off because I'm like. It's like, oh, come on, just let. So the pressure of them, like, come on, let's play a song. Well, when I started doing the solo act, I was like, oh, I can just do whatever. I'll stop in the middle of the song because someone's doing something distracting and then just rip on them or whatever. Feels like it's going to be fun. And I felt that freedom like, oh, in the solo show, I can just do whatever I want. There's no pressure of the band going, come on, man, let's play a song. Also, a good. A good side note here, and I think that every comedian can relate to this, is that I struggled to get the band in front of audiences and to get us gigs for so long that when I started doing the solo show, it was kind of immediately really loved, like 12 years ago. And I kind of hated that. Even though people. I liked that people liked it. I was like, well, I've been trying to do the band. What the fuck? So then I leaned into that and abused that. And I kind of went, Steve Martin, like, asshole alter ego. Like, oh, you guys didn't pay enough to see me. And I kind of leaned into that, and it was kind of funny because I could get away with anything. I could get away with murder. I was late. I was having balloons on stage, and some of them were helium, some of them were nitrous. And I'd huff those and then play a song. And there was this show at Tim's Tavern, Seattle, I'll never forget. I go and everybody, be sure to tip me. Be sure to tip the bartenders, but tip me first because I'm playing drums, guitar, singing. At the same time, they're just pouring liquid into a bottle. I could do that. I could do that all day. So tip them, but not before you tip me. And the people at the bar were like, I love this guy. I was like, God, I could get away with any of this.

Lynne Hoffman (17:46)

That's so fun. I'm jealous. That is the coolest thing ever. Do you see comedy and music as separate skills that you're combining because of what you sort of created, or are they totally intertwined for you at this point? Music and comedy?

Jeremy DeBarti (18:02)

I don't know. That's a good question. For me, they're inseparable. I don't even really think about it, but sometimes there's just hu. There's so many different kinds of humor, and I really love all of them. There may be a couple that I. That I lean into or something, but I. I really. I like all the different forms of comedy. And sometimes the joke is within a song. Like if you get into full nerd level, like. Like Steely Dan, for example, or Zappa. The jokes aren't always literal or, or verbal. There'll be a joke in the arrangement or the notes, and they're like, oh, man.

Lynne Hoffman (18:37)

Wait, wait, wait, wait. Hold on. I'm interrupting. Steely Dan is one of my all time favorite bands, and you're telling me there was comedy mixed in with.

Jeremy DeBarti (18:45)

Absolutely. It's. It's very dry.

Lynne Hoffman (18:46)

Get out of here.

Jeremy DeBarti (18:47)

Yeah, no, I think that Donald is throwing in little dry, sardonic, kind of, you know, what's the word? What the British fucking say. Cheeky little things all over the place. And if it wasn't in the. Yeah, absolutely, yeah.

Lynne Hoffman (19:06)

Unbelievable. Now I gotta listen all over again.

Jeremy DeBarti (19:09)

I mean, it goes as far out as songs like everyone's gone to the movies, which is like dark humor.

Lynne Hoffman (19:16)

I. I never knew. Never even picked up on it, not once. Just love the melodies, the harmonizing, the songs.

Jeremy DeBarti (19:23)

Yeah, it's. They've. They've got all kinds of. I mean, the more you dig into it, he's kind of. He's a funny guy, but I think those guys take themselves pretty seriously and that's fine. They should. They're incredible. But I've always really gravitated towards. I'm a person. I totally separate the art from the person. You could be the worst person in the world, but if you make art, I'll be like, ah, that's great, because they're totally different, you know?

Lynne Hoffman (19:50)

Yeah.

Jeremy DeBarti (19:51)

I love Zappa because he's a guy that's so qualified, but at the end of the day, he doesn't take himself seriously at all. And he'll do something jazz and then two minutes later he'll do a doo wop song and then he'll do. He'll do a heartfelt, like, love song. Valid. And then something extremely silly right after that. And that's like. That kind of steered me in a direction. It's like, okay, I don't have to. When I was in high school, just learning how to write songs, I listened to like, Echoes by Pink Floyd and I go, damn, how do I. Overhead the albatross hangs motionless upon the air. How can I ever be that deep or poetic or. That's so cool. And it just kind of stunted me. Like, I don't know what to do now because I'm. You know, this is like. That's so good that it actually kind of. It fucked me up. But. But then I downloaded. I downloaded some Zappa songs and I just heard how, like, serious the music was, but unserious the lyrics were, and I was like, oh, I don't have to be that deep or serious all the time. I can just have fun with this and not, you know, not every song has to be some tear jerker with crazy level lyrics. So that was very freeing.

Lynne Hoffman (21:01)

Two lost souls swimming in a fishbowl.

Jeremy DeBarti (21:04)

That's so. Yeah, that's insane.

Lynne Hoffman (21:07)

You're not the first person to blend music and comedy, but the way you're doing it is very rare and unique and fun. And I can't wait till you come through town so I can come see your show.

Jeremy DeBarti (21:20)

I have a lot of songs out there that are released that are silly. But I'd say now, as I'm like, you know, approaching 40, I've never written more mature, heartfelt songs in my life. But if you see me live, you're getting those songs. And some of those songs are I Hold Very Dear and I'll choke up and try not to cry during some of those songs. But you're getting the songs, but you're getting me. And that's like, I'm gonna dick around and do something silly. I can't help myself. I've had critique over the years from so many people that'll see the show and go, you know, maybe you should just do songs. And I'm like, yeah, but I'm not doing a. It's not that I'm trying to do a bit. I'm just being myself up there and it comes out silly sometimes. That's all right. Yeah.

Lynne Hoffman (22:09)

Jeremy, I ask a lot of comedians this question, and you just hit on it, and I'm gonna ask you the same one. Do you think more of us need to laugh at ourselves? Is that an important thing for us to be able to do as humans, to not only look inward, but to laugh at ourselves?

Jeremy DeBarti (22:26)

Yeah. Life is so silly. And no matter how hard your times are, it's like, that's kind of my thing. And I think that I saw that from my dad and some of the people that inspired me is that you could be having the worst day of your life. You. You have to be able to laugh at it. Otherwise you're. You're done. Because sulking about it and all that, it's not going to do anything for you. And that's my way. And if I'm ever around the band or anybody that gets to see it firsthand, I'm kind of proud that they get to see how to. How to really do it, because I'll be with the band or anybody in the wheel come off, like, could be, literally. And I'll like, go, yeah, we're making damn good time, though, or whatever. You know, it's. And I work with a lot of. Like, I'll work with people 5, 10 years younger than me, and I'll see them get so worked up and go, oh, man. I'll go, hey, it's fine. It's fine. And they're like, oh, no. But this went wrong and that's fucked. And we're lit. And I'm like, we'll get there. It's going to be the best show you've ever played. Or it won't. It's still going to be fun. I just tell people, have fun. I work the band. And I go, they'll go, hey, all right, so I'm leaving at 10. Well, midnight comes. And I go, you got one more in you? And these guys are, like, falling over sleepy. And I go, let's run it two more times. I build it all up. But then when the show actually comes, I'm like, ah, whatever, dude. It doesn't matter, you know, Like, I. I just. I want them to do their work and feel comfortable so that when they're on stage, they're not thinking about everything they do. And it just. They get in that flow state and just do well and they're not stressed about it. But it's the hardest switch to turn off for people, I think, is to not worry if you're self aware enough to not take yourself seriously and be able to laugh at yourself. I think that's the thing that will really carry you, especially in comedy, is like. Although I think that there's nothing funnier than like guy that thinks he's the shit kind of comedy, I think that like Kenny Powers is like a good example of that kind of brand of comedy, is somebody that doesn't laugh at themselves. They take themselves seriously. They don't have that awareness. And then you watch them fall on their face. It's like, that's a timeless device right there. You know, sometimes we're all that guy. And you know what you're saying is.

Lynne Hoffman (24:46)

You'Re an optimist eternally. And also, looking inward doesn't just help you as a musician or a comedian. It can help you in life, in anything in life.

Jeremy DeBarti (24:55)

Absolutely.

Lynne Hoffman (24:56)

Really?

Jeremy DeBarti (24:56)

Yeah. And I think that where I rest in, like the craft of songwriting, which is truly my life, you know, I consider myself a writer before anything else. I write songs every day. And the science and the craft of that and the spiritual nature of that is like, I live for it. I'm like a junkie for it. It's literally. It can be problematic. But I think that a comedian or a writer, the line between these two forms of art is that you're figuring yourself out all the time. And then you put her under a glass case and you move on to the next thing. And I'm finding out all the time that the better I get at my craft, the more I can articulate something that maybe I never vented. That was from 30 years ago. And I think that comedy is the same way. There's a certain vulnerability to it all. That vulnerable vulnerability.

Lynne Hoffman (25:49)

Nice job.

Jeremy DeBarti (25:50)

I'm not usually. I'm not usually awake at this hour. That's why this is my seventh shot of espresso.

Lynne Hoffman (25:56)

Well, that makes sense. Comedians usually are working late into the night, especially musician comedians. You got a lot going on. You don't just walk on stage. You got to bring all the instruments and the tech and the gear and all the whole thing.

Jeremy DeBarti (26:08)

Well, let me tell you, that's a lot. It's crazy. It's crazy all these years. Like, sometimes the best idea. I don't want to discredit all the stuff I do that I plan out and put a lot of work into. But some of the things that people still bring up, the memorable moments of past shows, was an idea that I'm an hour late to the show. I forgot I even have one, or I'm driving there, I open the trunk, I start to unload the gear, and I see a mannequin head, a rubber iguana, an old deflated birthday balloon, and some. A bag of novelty kazoos. And in the time that I've carried my stuff in, I go, I'm going to bring the iguana out to the audience, and it's going to be his birthday. We'll have the birthday balloon. And then I'll have everyone play Happy Birthday with those cheap kazoos while petting it. And then I always go, I'm gonna need those kazoos back, by the way. Cause I got a AIDS clinic I do on Thursdays where we use those or something. That was a thing I used to do.

Lynne Hoffman (27:10)

But you just came up with that when you pulled that out of the car as you're walking in.

Jeremy DeBarti (27:13)

Yeah, every day. Like, I had some jumper cables. Jumper cables in my trunk and some mannequin head. And I did a show that, like, I have no set list a lot of the time in the solo show. And so I was like, I'm going to hook the jumper cables up to the front of the bass drum and then to this guy's head. And then at some point in the show, improvise a bit where. I don't know. It's like, yeah, it's. What can I make out of what I have with me? But I think that if you expand on that, that's kind of the perspective of, like, that's how I see the world, is that you become an executive producer for everything around you. Every single thing in this room, every human. This is my world. You're just living in it, and you're all in my play. It's like, what do I decide is art? It's not just paint and a palette and a canvas. It's like that iguana head, this melody I've been kicking around, and a catchphrase I learned on a construction site 10 years ago. It's like, all of these are all elements and odds to be combined into something. And that's how abstract people should look at art. But instead they're like, well, I gotta watch a How to video and I gotta buy a guitar or I gotta do open mics. It's like, no, you don't just quit being inhibited and just fucking get weird.

Lynne Hoffman (28:28)

Do it. Do it. Get in touch with your weird side. Everyone has to be a little bit weird.

Jeremy DeBarti (28:33)

We'll be right back with more of the comedy Save Me podcast.

Lynne Hoffman (28:38)

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Jeremy DeBarti (29:41)

Hey everyone, Ed Helms here and hi, I'm Kal Penn and we're the hosts of Irsay The Audible and iHeart Audiobook Club. This week on the podcast I am sitting down with Jenny Garth, host of the iHeart podcast. I choose me to discuss the new Audible adaptation of the timeless Jane Austen classic Pride and Prejudice. This is not a trick question. There's no wrong answer. What role would I play?

Lynne Hoffman (30:11)

You know what? I can see you as Mr. Darcy. You got a little Colin first.

Jeremy DeBarti (30:17)

Okay, that's really sweet. I appreciate that. But are you sure I'm not the dad? I'm not Mr. Bennett here. Listen to Earsay the Audible and iHeart Audiobook Club on the iHeartradio app or wherever you get your podcasts. My favorite thing about Shipt since I signed up for target circle360. No price markups when I order same day delivery from tons of local stores. Only a handful of alcohol retailers and items don't count. I won't lie. I've had too much fun being like markups on groceries not in my fridge. Markups on pet food not for my dog, markups on tools, electronics, home goods, meds, not in my house. Anyway, it's awesome. Order now@shipt.com 360trees apply. The holidays are back at Starbucks, so share the season with a peppermint mocha, Starbucks signature espresso, velvety mocha and cool peppermint notes topped with whipped cream and dark chocolate curls together is the best place to be at Starbucks. Ulta Beauty Cyber Monday is here. Take 30% off your favorite brands. Yes, the entire brand, like Tarte, Clinique, Benefit Cosmetics and Estee Lauder. But hurry. These Cyber Monday deals end December 1st. Head to Ulta.com or the Ulta Beauty app today. Ulta Beauty gifting happens here. Welcome back to the Comedy Saved Me podcast.

Lynne Hoffman (32:01)

Now I'm going to change the subject a little to a little more serious. Can you think about Maybe because you seem so happy and fun loving, but I can't imagine that there hasn't been strife in your life. There is in everybody's life at one moment, time or another. Can you think about a time in your life that was a little bit difficult and how humor helped you get through it? Or when you're going through something heavy like, you know, how do you process it? Does it through music? Is it through writing? Is it comedy? Is it going for a bike ride?

Jeremy DeBarti (32:28)

Well, I think like any American man, I shove it down and not face it whatsoever. But that's where art comes in, because 10 years later, I can make a song about it. And as I'm getting older, I feel more and more comfortable with talking about anything and kind of venting. And I'll sit down at the piano and make something and then when it's done, I'll go, man, like, I can't believe I wrote that. Like, I, I think the reality is, is the way that my body works is. My defense mechanism is like, it's like self numbing to a point where I may be still figuring out how terrible my life actually was through writing songs about it. You know, I think that's the thing, is all of my strengths are built out of weaknesses, whether I realized it or not. My parents split up when I was 2, so my inner voice is still intact from being a child because I'd be off dancing to Jungle Book or something, listening to my inner voice and creating and making life fun. I didn't realize what I was doing, but I was creating this independence that it's still what I live by, you know, and, and I'm never lost, at least not in the last 10 years or so, because music and art always guides me back. You know, it's a really roundabout, long way to answer the question. But, you know, I look at a lot of people I know and people that I see out there and I go, my life has been way harder than that guy. And he sure complains a lot more. I. I just. I feel like I try not to talk about it because I don't want to be a downer, but it's, you know, people got to see the other side of the token. Like, I'm such an optimist and I'm such a. I want to be happy because my shit has been so rough, honestly, you know, and, yeah, there's a lot of people that grew up in a suburb in the middle of nowhere that their life have been perfect. They'll write the status music because inside they want the pain. But me, man, I want to write happy music. I've already. I've already seen sad shit. Like, there's already enough sad music in the world. So whenever I write something deep or emotional or kind of saddish, I want it to have an impact in a meaning that's. That's not shallow. Like, it has to be. It has to be timeless in a way that I can feel like it's not a wussy saying it. You know, a lot of emotional music out there, they're just wussies. And I want to write stuff like I. I was sitting here in this room and I just thought a few years ago, I thought, man, there's going to be a day where I die and my son is left without me. And then just as like, a paralyzing thought. So, you know, I wrote some songs in that mindset you would never know because they don't sound as sad as that would imply. But that's the whole thing is.

Lynne Hoffman (35:17)

Yeah.

Jeremy DeBarti (35:18)

Is finding a way to put sugar on the medicine of life. And that's where comedy brings all this stuff together. It's like, if you can't laugh or you take stuff so seriously, I. I live like I could die next week. So what am I going to do? Save my money? I'm going to buy that guitar, I'm going to buy that keyboard. I'm going to drive around with no real aim of where I'm going just to listen to music. And I think that the only way to really live is to. To live by that. You know, it's a great.

Lynne Hoffman (35:46)

It's. First of all, it's very selfless the way that you attack writing songs. But I would like to coin a new phrase with you. Maybe you can use it.

Jeremy DeBarti (35:54)

Yeah.

Lynne Hoffman (35:54)

The Steely Dan effect. You hear something you think is so serious, but you don't realize it's actually. Or the Opposite comedy. And it's actually really telling the truth.

Jeremy DeBarti (36:02)

Well, I think that it speaks volumes to the fact that Steely Dan were masters of music and their craft and of jazz, but as people, they were silly. So it's like, where does the personality peek through in the music? Well, we, we go as far back as Cheech and Chong and then Fireside Theater. And then for me, in the 90s, in grade school, I was listening to the Adam Sandler records. We were amazing. I just went and re. Listened to they're all going to laugh at you. Honestly, some of those bits hit way harder. Now the thing is, there are people that write really heartfelt songs, but I'm never, I'm not always convinced that it's sincere. And if they take themselves really seriously, that's kind of a giveaway. Like, well, I listen to Mark Lanegan and when it's a really deep, profound, emotional song, I really feel it. And I'm like, I believe it. And when somebody's singing on stage, like, I like to know that guy's been through hell. You know, I think the. You know what I mean? Like, I think the emotional music, emotional music that's written by like a diverse person. Like, I think that the future. I think the future of, of. Of man on earth is going to be a guy that can run a chainsaw and kick your ass and is masculine, but is also completely emotionally like. No, I feel you.

Lynne Hoffman (37:26)

Yes.

Jeremy DeBarti (37:27)

The soft muscle heads. I don't know what it is, but I've never felt more in touch with that in my life. And it's like, I'm an artsy femme weirdo, but dude, I also mow lawns and pick up a mower. And the older I get, the more comfortable I am with being masculine. It's like, that's okay, but never. But never. Just don't be a dick, you know?

Lynne Hoffman (37:48)

No, it's. You know what? You're so right. I think it's like you're going at it from the opposite way, but makes perfect sense either way because women do need some type of depth in there so that you can have a conversation. Because we like to talk.

Jeremy DeBarti (38:03)

Yeah.

Lynne Hoffman (38:04)

About deep stuff, but we also want the guy who can pull the chainsaw and go take care of business. So it's a wonderful combination. And funny enough, now in 2025, it's actually okay to talk about your feelings if you're a guy. And it's not a turn off, I don't think from women, not at a construction site.

Jeremy DeBarti (38:23)

I think they're still Maybe a little behind out in the general world of man, but I always live this dual life because I'd be at home writing songs and like, I'm practically Shakespeare in my basement. And I'm a. I'm like a. I've been with like 10 people in my life, and I've always just been in relationships. And I'm like this romantic. I want to shove all this stuff on the counters of the kitchen, shove that under into the cupboards, make it look nice, and then go use my food stamps to get like some kind of a pasta thing. And then I'm like playing acoustic guitar. You know what I mean? That's the life I'm leading. But then I also go to work on a construction job site in a flannel and I'm lifting this and you're like kind of with the boys and everyone's really vulgar and I can connect with that. But there's also part of me living this dual life where I'm like, yeah, I know what you mean. But I don't at all, like, you.

Lynne Hoffman (39:19)

Know, you have no idea.

Jeremy DeBarti (39:21)

But you just.

Lynne Hoffman (39:22)

But it looks good and it relates. I mean, if people think that you.

Jeremy DeBarti (39:24)

Hear there's a point of macho where I'll connect and then it falls off where. Where it's just like kind of, you know, farts and womanizing or something. And then I'm like, all right, that's. But I grew up with a single mom and a. And a little sister and, you know, so it's like there's also that side too, you know?

Lynne Hoffman (39:45)

Well, what can I ask? What was the most ridiculous thing that's ever happened during a steel beans show? Oh, oh, you're rubbing your hands together. You got a good one for you.

Jeremy DeBarti (39:55)

It's so. It's so vast and nebulous. I honestly, God, the most absurd thing to happen in my show is like, what's the windiest wind at a hurricane or something? I mean, there's been some crazy stuff.

Lynne Hoffman (40:09)

The windiest wind of a hurricane.

Jeremy DeBarti (40:11)

There's one time where this is not even that crazy, but for the people that were there, it was. I got a text in the middle of a show that. And by the way, this is like a small venue where I get two, three hours to do whatever I want. So it's not like a 30 minute set, whatever. But I get a text that, like, I thought that my girlfriend was going into labor. And so I go, I think we're having the baby now. So the whole venue rushed up and all grabbed my Stuff, and we all crammed it into my little Saturn Ion. It's like drum set, keyboard, all this stuff. And then I Royce over, and I went to the hospital, and it was like a false alarm.

Lynne Hoffman (40:48)

Oh, no.

Jeremy DeBarti (40:49)

But I've also done. Here's the thing is, like, people told me for years back in the day to, like, kind of remind me of Andy Kaufman a little bit.

Lynne Hoffman (40:57)

Oh, yeah.

Jeremy DeBarti (40:58)

I didn't really see that at the time, so I was like, huh. I. I guess. Thanks. I love. I love Andy, but I didn't see the connection. And now, years later, I kind of get it. It's pretty in your face that Steel Beans or Salmonella records, which are kind of, like, synonymous, it really is such an inside joke that sometimes the. It's only inside to me. And now I realize, like, what they meant by that. Like, I've done shows where I. I responded in email one time, no, I'm not available. This guy offered me a gig. I looked at the bill. It was like, country, Americana artists. And I said, I'm not available, but these guys staying in my house from Nashville are a legit country duo. I'm sure they'd love to do it. This is perfect. So then my friend Zach and I, who's a great comedian, a great songwriter, we both went as these characters from Nashville and talked in an accident. We came up with our whole backstory. We wore our Western best, and we went in there and, like, maintained it the entire night, telling everybody there, we're from Nashville. The owners of the place, whoever it was, are like, well, thank you kindly. And it's called the. We called it the Runny Nose bros.

Lynne Hoffman (42:10)

You are killing me. Did you come up with that on the spot when the call came in and literally went with it from that minute on?

Jeremy DeBarti (42:17)

Yeah.

Lynne Hoffman (42:17)

That is insane.

Jeremy DeBarti (42:19)

We carried this on the whole time, and there's even a moment that we were talking to somebody. She's like, oh, yeah, I'm from down by wherever. And they're like, what area? And we. We looked up in a neighborhood, so we're like, yeah, he's actually born in Bowling Green. But, like, we were practicing our accents. Three in the morning, we get into his little tiny car, and we close the doors and we go. And we're just dying because it's like, we just have this, you know, but it's always been something like that. I'll call the baseball stadium and just make some up and pretend I'm some other dude and go, yeah, we really want to get the Steel Beans group in here to Just perform something in the center of the field. It's like the inside joke is. It's. It's such an onion layer. I do jokes all the time that are relative to something we've been joking about in the van. Yeah, I do this all the time. And I'll throw it out there. And I know that a couple people laugh just because it's silly, but the band, they're getting it. I'm, like, playing to them, and that happens all the time. Anyways, I'm going to stop talking about that.

Lynne Hoffman (43:21)

No, it's awesome. I mean, it's like, you know, that's like a Letterman. I was trying to figure out was it a Letterman or Seinfeld thing where you can bring it back, like the initial joke, and then you can bring it back around in the end, and everyone gets it.

Jeremy DeBarti (43:33)

Right. Right. I think those. Call those. Those callbacks are great. And throughout my solo show, I kind of do that a lot. If somebody. If somebody does something that stands out or. I'll do these. I'll build a song from scratch, and I'll ask for people to call out the weirdest thing they can think of, and they'll be like, centaur, platypus tits, tractor. And I go, what kind of song is it? They'll go, it's a reggae. It's a metal. And I'll go, okay, it's a reggae song that turns into a metal song, and it's about a centaur and a break of. And I'll kind of like fire on these cylinders and hammer back all these things. They just said, wow. And I'll even impress myself if I can pull it off. But then 40 minutes later, I'll, like, bring it back around to the centaur and tell a story about him or something. You know, it's. And the plan, it always feels like bonus points.

Lynne Hoffman (44:21)

It's awesome. I mean, I've never heard Did. First of all, can we just rewind real quick from that last question I asked you? You said they called you to book you, and you said, no, but I have a country band here. And then did they know that was you coming to the venue who booked you, or did they think you were. You were the Nashville band.

Jeremy DeBarti (44:42)

No, dude, it's always something like that with us. Let me tell you. We just recently went on a tour down the west coast, and I go, guys, I took my bassist, Sean, and a new drummer we've worked with Wes, and I go, here's the thing. We're going to wear the red of our dogs. Beetle suits every day, not on stage, but on all of our off days. So we drove 14 hours to San Francisco from here. We're wearing black suit, black tie, and aviators. Walking into a gas station in the middle of nowhere. And we kind of look at each other and people are like, what the. Who the fuck are these guys? So every single day, off days, travel days, and even when we load into the venue, we'd be dripping sweat, loading the shit, but we're in our black ties and our. And our matching black dark aviators, just looking like Secret Service everywhere we went. But then before we go on stage, I would change into the other clothes so people like, they couldn't cigarettes out, dude. I brought all my fake plants. So I bring all these fake plants with us a lot of the time so they can see us coming in with fake plants, a leaf blower, suitcase. We're in the suits. They're like, what the fuck band is playing tonight? You know?

Lynne Hoffman (45:57)

That is so awesome. I can't even imagine anyone listening this. Who's not waiting to find out when Steel Beans is going to be playing at a venue near them because you just don't know what's going to happen next. I need to know now. Two questions and then I think I might let you go. No, I have three more. But what do you think music and comedy have in common at their core?

Jeremy DeBarti (46:22)

Well, of course, they're forms of expressing yourself. And I think that there's something that it takes a lot of. It takes a long time to really get good at it. I see a lot of musicians or comedians kind of learn the beats or the form and they can imitate a song, but it takes a long time to get good at it. Where it's like, oh, this is real. This stands up there with the greats, you know, it's like, I see this in comedy a lot now too, because of the Internet. We have so many people getting videos are on stage, and they kind of know the timing and the phrasing, but their writing just isn't there. And I'd say the same for a lot of young bands that bless their heart. Like, I don't want to discourage anybody, but there are a lot of bands that I'll see and I'll go, all right, I really wish these guys well. But you know what? Go in your basement for another 5, 10 years and come back when you're Hendrix. You know, that's the self awareness that a lot of people are lacking because it's that Dunning Kruger effect. You don't realize how good you are because you're not qualified to understand what the quality is, you know, and how.

Lynne Hoffman (47:34)

To even achieve it.

Jeremy DeBarti (47:35)

Yeah, I think that's the, the real correlation between comedy and music is that you have to work on this a lot and you have to write all the time. You know, like the old saying, and this is one of my favorites is help me with this if you remember. But it's like if I don't write for two days, I noticed if I don't write for a week, the audience notice I'm messing that up. I believe it's Steve Martin, but like, I really think like that. It's like you got to stay sharp and, and stay up on this. And I think comedy is really hard because that's like my solo show. I cannot practice it at home. I don't sit and play drums and guitar at the same time ever. The last time before this tour was almost two years ago. I may do it here and there, but it's never my goal because it's a show that relies on having the people there. It's like trying to do a stand up set in your bedroom. You can stand there and practice the things, but you got to read the room and like in real time, kind of carry it a little bit, make it, do it for yourself and stick to what you like. But you also have to kind of keep everybody in it. And it's this perfect, this perfect balance between like selflessness and narcissism or something where you got to believe in yourself so much. I know I'm good. But then you also have to connect just enough to keep people, keep people in. But it's a slippery slope to be in, in the arts because everybody is really right on the edge of being called that. But yeah, one thing that happened to me over the years for sure, and I mentioned it earlier, is that switching to the solo show and getting a good reaction. I played to empty rooms for so many years. I started getting a little bit of that loathing for the audience. And so by default I do these shows in the middle of nowhere to pay my rent. Like $150 for three hours at a bar in the middle of the country. And so many people are just like eating a burger, drinking, they're not even paying attention to the music that I kind of learned to like load the audience. And the audience is the enemy and they're the target. And so that became kind of like the default of the show is kind of not trashing the audience, but like, I'm against them. They're the enemy. Until people are paying attention. There'll be three people over here that are paying attention. I start playing to them and like talking them up and I'm like celebrating them and then I'm just ripping like, oh, this fucking guy over here.

Lynne Hoffman (50:03)

And then the rest of the audience kind of pulls in with, you know, when they go, oh, wait, something's going on over here. You said narcissism. I think it's just a health. You have to have a healthy, healthy ego. Yeah, but I, I don't think you, you have, you don't have to be a narcissist, but a healthy ego and also. What else did you say? Oh, the enemy. What a great idea. You know, if they're the enemy, then how can you fail? Because that. And you also have to deal with all the things that are happening that are unknowns at the same time.

Jeremy DeBarti (50:31)

I think that, you know, Bill Hicks and George Carlin, two of my all time favorites, they kind of displayed this for us in such a classy way that like, they clearly are exhausted with the human race and they're just over it.

Lynne Hoffman (50:45)

Yep.

Jeremy DeBarti (50:46)

And they have, they have such a good way of painting that. And I, and I like really connect with that because I love people and I'm fascinated by them. But like, God, you know, these days it's like a comment section is what will, like, I'll look at my comments on Facebook and It'll be like 50. Subtract. Subtract 50 from the IQ of what the comments would be elsewhere.

Lynne Hoffman (51:10)

Oh, yeah.

Jeremy DeBarti (51:10)

And it's like, oh, my God. It's like you guys are the reason I go on stage and my default is ripping the audience, you know, and you deserve it.

Lynne Hoffman (51:19)

The keyboard cowboys who are fearless because they're, they're nameless and faceless.

Jeremy DeBarti (51:24)

Yeah.

Lynne Hoffman (51:25)

In a world that can feel really, really heavy. Speaking of which. Because that really does add to it, which is why I try to stay off social media as much as possible, because I do believe it is really the worst version of yourself. It's great for business, but not for humans. For people, I don't think. But in a world that can feel really heavy, what role do you think entertainers like you play? You know, people who are deliberately, you're deliberately going out to try to make other people smile and heal.

Jeremy DeBarti (51:53)

You're. You're short on time, but you're hitting me with these really profound questions that are. I can't answer that without getting deep. But on a personal level, our, our role is to fulfill Our own journey to be the best artist we can be. And that's the end of the story. But when it comes to being public and our, our role is to uplift people and it's, it's, you know, I'd love to make some money someday, but that's really not it. I can make money a lot of ways. At the end of the day, it's like I want to be. So I want to be proud of myself and impress myself by coming a long way and being good at what I do. But I want, I want to create something. It's a tricky question because I make everything for myself. But I know that there is an audience of like minded people where that overlaps and they'll enjoy it. I think that the role of the artist is the same as it was in the medieval days of jesters and muses or whatever is that I have my problems, you have your problems. And I have these songs I worked really hard on and there's these business and all this bullshit of the booking and the loading. But then once I get on stage or any band gets on stage, you know, the people in the audience for a good 30 minutes or an hour, they. They forget all their problems and they shut them off. And you're the distraction to. You're. You're reminding them what life is really about. It's like smiling like there's no tomorrow and having a good time. And that's like the, that's the deepest end of public performance is that people got a babysitter. They went and found, they schlepped all the way into your place and did all this stuff. And then while you're on, they can forget about their problems if you're doing it right. And I think that's the role of, of any performer.

Lynne Hoffman (53:44)

If someone's going through a rough patch right now, what would you tell them about the power of laughter? Go ahead. I feel like it's a game show now all of a sudden.

Jeremy DeBarti (53:52)

We are on the east coast.

Lynne Hoffman (53:54)

Yes.

Jeremy DeBarti (53:54)

You said go ahead.

Lynne Hoffman (53:55)

Go ahead.

Jeremy DeBarti (53:57)

Good.

Lynne Hoffman (53:57)

And I'm from Boston originally, so I'm surprised it didn't.

Jeremy DeBarti (54:00)

You know, I love Buffalo 66, where it goes 1, 2, 3, 3. And now, and now I love counting to tree. Remember to be able to laugh at yourself. You know, it's like, yep, again, there are some moments where I'll be like, I'll be committing to some premise that is so ridiculous and not worthwhile or wearing something hideous and ridiculous and I'm dragging the band or the audience along with me to make this big leap, and it's like, I could take it so seriously, but then at some point I laugh or the audience laughs. And it's not even because of the joke. It's because of how far I'm trying to go to make this thing work. That is just such. Such a long shot. That's not really worth it. And it's like being able to find the humor in anything is. That's always been. One of the things for me is you don't. You don't always know where the joke is. Because sometimes, like, I put on, you know, like, for example, the silver spandex onesie, the silver face paint in that wig. Like, that's not that crazy. Where I come from, like in Finn, that's my go to when I can't think of what to wear. I have those. And the silver is like a metallic powder, and it takes two minutes. I go, I don't know what to wear, so I'll default to that. And I kind of forget what I'm wearing, right? I'll forget that I'm even wearing that. And I'm up there and I'm doing a drum solo and a guitar solo at the same time. And then when it sits over, then I'll make a joke, and then I'll remember what I'm wearing. And it's just layers of not taking yourself seriously. Upon layers. It's like I take the craft of music really seriously, and I take the. In the face of music and all who stand before me, I want to create something that stands up to that and honor the seriousness of the craft. But I never take myself seriously. No, I mean, I think I look pretty cool, but I'm not really trying.

Lynne Hoffman (56:04)

Well, if you want to know what he looks like, go to silvertoneguitars.com because there's a picture of you.

Jeremy DeBarti (56:10)

Oh, really?

Lynne Hoffman (56:11)

In that outfit you're describing online there? Yeah. So you. You didn't know? Oh, yeah.

Jeremy DeBarti (56:16)

Oh, thanks, guys. In Silvertone, no problem.

Lynne Hoffman (56:20)

Did. Did comedy save you?

Jeremy DeBarti (56:23)

Oh, yeah. Comedy has saved me, and it saves me over and over again. If you can't laugh, then you're down bad. You know, at this point, it is really hard to get me to physically laugh. I'm. I feel like a stone, you know, I mean, I've just, like, seen a lot or something, but it's got to really tickle me in the right ways. I'll make little. I'll make a comedy sketch or a promo video for a show that's funny. It doesn't Physically make me laugh because I'm experiencing my own thing, but as soon as I show it to somebody else, I'll kind of laugh when they laugh. For some reason, it's, like, contagious like that.

Lynne Hoffman (57:01)

Yes.

Jeremy DeBarti (57:02)

It's. It's strange about your own thing that you're creating and then, like, studying where people laugh and what they find funny about, you know, I think that every comedian probably suffers from that, because you can't. You. You can, like, be aware, like, oh, that's funny, but it doesn't, like, make you laugh. Gut laugh, you know?

Lynne Hoffman (57:22)

Totally. I mean, I. But. And can I give you a quick example? My best friend Scott would tell me a story about something that happened to him in his childhood that was horrific with, like, his dad or his mom. And the way he would tell the story, I would burst out laughing in the end, and then he would laugh, but then he would go, no, but that was serious, you know?

Jeremy DeBarti (57:41)

Yeah, definite love that.

Lynne Hoffman (57:43)

Like, you know, I was climbing up a tree to get away from my father, and you think this is funny. This scarred me for life.

Jeremy DeBarti (57:48)

You know, that's the thing. That's the. That's the key right there is being able to laugh at all of that stuff. It's like, you know, everybody, when they grow up, they reach a certain age where they take mushrooms and they think about everything their parents ever taught them, and they go, my parents were literally like, I'm in my 20s, and my parents had me when I was like, me right now. Like, they hardly knew what the fuck they were talking about. That's just shit that other people told them. And you kind of reevaluate everything you've been told, and you're like, all right, half of this stuff is maybe not correct. So I'm gonna rebuild and be my own person and just kind of take the good and then, you know, filter out the. That maybe people were just making it up and going along, you know? Yeah, that.

Lynne Hoffman (58:35)

That is, in a nutshell, what we're supposed to do, right? Take all the best qualities and then leave all the worst. And there's no book written, so everyone's practicing.

Jeremy DeBarti (58:45)

Most people do the opposite. They're like, okay, so I'm gonna drink.

Lynne Hoffman (58:48)

Heavy and then, you know, smoke copious amounts of marijuana. Oh, my goodness. Jeremy DeBarti. I don't want to let you go. Give me one more. One more question. What's next for steel beans? Where can people find you? See you, experience you. Immerse themselves in all things. You.

Jeremy DeBarti (59:07)

Well, do yourself a favor. Follow me on all platforms. I'm mainly on Instagram, but I'm trying to get people on the YouTube channel. YouTube.com/salmonella records. I love it. I'm on Twitch or whatever. I'm not really good at get, get on socials and see me do something over the next month before I smash my phone and get back on the road. You know, I just, I just had an album, I'm working on the next one. We're going to be getting back on the road soon. Trying to get out to the UK and Europe and the east coast as soon as possible. So really right now we're just waiting for the time where it's safe in my rear wheel drive van because in the, you know, it's, it's kind of random. The mountain passes will get snow so I want to be safe. But thank you so much for having me.

Lynne Hoffman (60:00)

It's been such a pleasure, pleasure to have you here. Really. I mean it. What a refreshing conversation with like just such a real human being but who's also going out there. And actually you're saving people with your comedy, not just yourself.

Jeremy DeBarti (60:14)

Oh, thank you. I hope so. Yeah. And if not, that's okay. But I think anybody paying attention, it'll find the right people and yeah, man, thank you so much for having me. I will keep talking forever.

Lynne Hoffman (60:27)

So Jeremy DeBarti steal beans. Comedy saved me. Thank you. And all the best to you and yours.

Jeremy DeBarti (60:34)

Thank you so much. Ah, greetings from my bath festive friends.

Lynne Hoffman (60:45)

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Jeremy DeBarti (60:55)

I used it to get this portable spa with jets. Now the bubbles can cling to my sculpted but pruny body.

Lynne Hoffman (61:01)

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Jeremy DeBarti (61:04)

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Lynne Hoffman (62:04)

We're back for season four to talk to some incredible small business owners.

Jeremy DeBarti (62:08)

The big thing about working at tech is that it's ever evolving, ever changing. Everyone's a rookie. That's how fast the industry is changing. So what I'm really excited about is to be part of that change. So listen on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. You know what a girl's best friend is not diamonds her lawyers. From executive producer Ryan Murphy comes a fiery new legal drama.

Lynne Hoffman (62:31)

It's our own boutique women representing women.

Jeremy DeBarti (62:34)

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Lynne Hoffman (62:36)

Make it race Showtime, ladies. Stand up straight and breeze into that room like a storm no one saw coming.

Jeremy DeBarti (62:46)

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