THE JOE ROGAN EXPERIENCE #2383 – IAN EDWARDS
September 24, 2025

Episode Overview

In this lively and reflective episode, comedian Ian Edwards joins Joe Rogan for a sprawling conversation that dives into the evolution of stand-up comedy, the grind of making it as a comic, artistic authenticity, changes in the entertainment industry, combat sports, social and political issues, and personal philosophies. The rapport of two veteran comics—friends and colleagues for 30 years—gives the discussion warmth, wisdom, and depth, with hilarious asides, memories from the comedy trenches, and honest introspection on careers, creativity, and the state of the world.

Major Discussion Points & Insights

Comedy’s Roots & Climbing the Ladder

• Authenticity of Comedy Spaces ([00:14]-[01:51])

  • Rogan and Edwards reminisce about the aesthetics of iconic comedy backdrops, like brick walls, and how fake setups (plastic or curtain “bricks”) became industry clichés.
  • Notable quote:
    • Rogan: "It’s weird how that became the backdrop for a comedy club. A brick wall." (01:51)

• Early Days & Open Mics ([02:24]-[04:21])

  • Ian recounts hustling to get stage time in New York, describing the monthly lottery at Comic Strip and his early realization: "Once I had the inclination to do it, I said, oh, I'm doing this for the rest of my life." (03:32)
  • Joe discusses parallels from Boston: regional road warriors rarely made it on TV, and TV was the real key to touring and exposure.

• Moving to America and Inspiration ([05:10]-[06:36])

  • Ian immigrated from Jamaica at 17 and got hooked on SNL because of Eddie Murphy: "I might run past the question" (about his age, 05:53).
  • They reflect on Eddie Murphy’s era and the legacy of SNL producing movie stars—a trend they agree has faded, though they’re hopeful for new talents like Cam Patterson ([06:50]-[08:11]).

The Grind, Inspiration, and the “Hang”

• The Modern Comedy Circuit & Work Ethic ([11:13]-[13:46])

  • They praise hard workers and prolific writers in the scene (e.g., Cam Patterson, Ari, Maddie, Hans Kim, William Montgomery).
  • Joe spotlights the “X factor” in comics like Cat Williams and Joey Diaz who have an instant comedic aura:
    • "That motherfucker is funny. The moment he grabs the mic." (12:33)
  • The conversation turns to the importance of persona, stream-of-consciousness performance, and celebrating each other’s talents rather than feeling threatened by the next “killer.”

• Scene Camaraderie vs. Road Loneliness ([21:09]-[23:21])

  • Both men stress how vital hanging out with other comics is for creative and personal support. Touring solo is described as "the opposite of camaraderie"—sometimes outright competitive and toxic.

• Cutthroat Road Gigs & Joke Theft ([23:22]-[24:56])

  • Joe shares horror stories of bit-thieves on the road and the contrast between tight-knit city scenes (NY/Boston/LA) and small regional circuits.

Honesty & Growth in Comedy

• Brutally Honest Feedback ([23:50]-[25:26])

  • Ian describes how NY comics policed each other’s material—if something seemed hacky, even established comics (like Patrice O’Neal) got called out.
  • He shares being roasted by peers for an over-reliance on black/white jokes, and Joe mentions comics who struggle to expand sets beyond ethnic material.

• Joke Evolution & Storytelling ([25:26]-[29:47])

  • The pair discuss how comics build longer sets and learn that regionally specific jokes can “kill in town” but flop elsewhere.
    • Ian: "I realized, oh…you gotta, like, figure out universal truths of comedy." (28:34)

Stage Time, Success, and the Battle Against Stagnation

• Stage Time and Flow State ([18:37]-[20:46], [40:00]-[44:13])

  • Joe and Ian agree massive amounts of stage time—multiple sets a night—is critical for mastering timing and unlocking a “flow state.”
    • Rogan: "You know, one of the things I found…doing that many sets…there’s a freedom of like exploring thoughts." (41:48)
  • Ian calls the best sets "out of body,” getting “high on stage,” and the addictive nature of killing:
    • "I got high on stage, right. I'd never even done drugs then, but I said, this is what drugs feels like." (43:01)

• Fears of Stagnation & Staying Hungry ([14:24]-[18:06])

  • Ian discusses seeing comics he admired “vanish” from the scene, becoming bitter or falling into old habits, reminding himself: "That's why I stay on stage. I am not gonna let that happen to me." (17:01)

• Intentional Risk & Growth ([39:01]-[44:13])

  • The comics talk about risking offense, pushing boundaries, and how both “bad jokes that offend” and “great jokes” come from the same creative impulse.
  • Joe references Chris Rock's legendary bit:
    • “He said about that bit…it just bombed for like the longest time. He knew there was something in there, but it was just bombing.” (36:28)

The Comedy Industry: Then & Now

• Building Careers and New Pathways ([46:20]-[48:11])

  • Joe explains how his club in Austin is structured to cultivate and nurture talent through open mics and mentorship.
  • Kill Tony is celebrated as a platform for comics, where "one good fucking minute" can change a life ([46:55]-[47:55]).
  • Honest discussion about the difficulties and heartbreak of bombing versus “killing” on breakthrough platforms, and the reality of going from obscurity to headlining arenas overnight.

• Festival Culture & the International Scene ([30:16]-[34:36])

  • They examine the festival-driven comedy of places like Australia and the UK, where comics write and retire whole hours annually—a “one-man/woman show” style different from the American club system.

Broader Topics: Fighting, Corruption, and Beyond

• Combat Sports & The Toll on Fighters ([51:13]-[71:33])

  • Joe displays encyclopedic fight knowledge, referencing legendary boxers, UFC figures, and the toll of combat sports—physically and psychologically—on athletes.
  • Emotional reflections on seeing friends lose fights or suffer long-term effects.
  • Boxing’s changing eras, the tragedy of lost prime years (Ali), and comparisons of talent across history.

• War, Power, and Political Corruption ([81:04]-[106:25])

  • The pair shift into a critical exploration of American war history—from Vietnam and Afghanistan to Ukraine and Iraq—questioning motivations (“money, control of minerals, oil”) and unmasking the facade of noble causes.
  • Rogan: “War is a racket.” (122:55, referencing Smedley Butler)
  • The conversation threads Gulf of Tonkin, Iran Contra, and Watergate into a wider critique of institutional deception.

• Transferring Wealth & the Covid Era ([97:00]-[103:07])

  • Joe and Ian analyze economic manipulation during crises, noting how Covid accelerated a massive transfer of wealth to major chains while destroying small businesses and deepening corporate power.
  • “The easiest way to do it is war, because you trick people into doing it and you can control an entire country.” (101:33)

The Personal Path: Staying True and Avoiding Pitfalls

• Showbiz Pitfalls & Artistic Ownership ([137:32]-[144:51])

  • Stories of comics and musicians losing creative control (Arsenio Hall’s social media, artists’ Spotify contracts, label greed, the contract trap of “perpetuity”).
  • Cautionary tales for emerging artists: don’t sign away your creative assets, and adapt to new pathways to reach audiences (like direct-to-YouTube specials).

• Life as a Comic: All-in or All-Out ([152:07]-[156:51])

  • They compare their career choices—some take the “switch” to comedy with no Plan B, while others are eventually sidelined by depression, lack of support, or personal crises.
  • Ian: “There was a switch and once you turned it on that was broke. It couldn’t go back the other way. And this is what we was doing.” (152:29)
  • Joe underscores that what derails comics isn’t always lack of talent—often, it’s demons, toxic relationships, or being “distracted from doing what you want to do in life.” (155:18-156:41)

• Comedy as Battle & The Flow State ([159:20]-[161:19])

  • The militaristic language (killing, bombing, dying on stage) reflects the adversarial, all-or-nothing nature of the craft and the constant struggle to achieve the creative “flow.”

Notable Quotes & Memorable Moments

• Ian Edwards on Risk & Persona:
  “Maybe I have to take more risk. I got to figure this out…there’s a gear left in me that I’m having trouble accessing. There’s a freedom in my version of me.” (39:48-40:04)

• Rogan on the Addiction of Killing:
  “I got high on stage…I’d never even done drugs then, but I said, this is what drugs feels like. And I’m addicted to that.” (43:01)

• Rogan on Honesty in the Craft:
  “Patrisse had a great line about that: a bad joke that offends everyone and a great joke both come from the same place. I’m just trying to make you laugh.” (35:36-35:51)

• On Friends Who Don’t Make It:
  "A lot of those dudes that get real dark because they don't have support. They're not friends." (153:45)

Noteworthy Segments (with Timestamps)

• [01:51]: Why did brick walls become the comedy club backdrop?
• [04:21]: The importance of getting on TV for a comedy career in the 90s
• [06:50]-[08:11]: “Cam’s got it”—spotting raw talent and celebrating peers
• [11:13]-[13:46]: The “X factor” in comedy: Diaz, Cat Williams, Brody Stevens, and persona
• [23:50]-[25:26]: Dog-eat-dog world of road gigs, joke thieves, and the “hang”
• [28:34]: Learning the limits of regional comedy material
• [43:01]: The addictive high of performing well (“I got high on stage”)
• [46:55]-[47:55]: Kill Tony as the launching pad for a comedy career
• [81:04]-[91:18]: Deep dive into war, propaganda, and systemic deception (Vietnam, Iran-Contra, Watergate)
• [97:00]-[103:07]: The wealth transfer of Covid—how small businesses got crushed, big corporations surged
• [137:32]-[144:51]: Dangers of showbiz contracts, the Spotify debate, and ownership of creative work

Tone & Takeaways

• Camaraderie & Wisdom: The episode is full of old-warrior energy—there’s brotherly ribbing (and vulnerability), frank advice for aspiring artists, and honest talk about work, risk, and staying authentic.
• Cultural Commentary: Both hosts are especially critical of systems that exploit artists, consumers, or everyday people, from record labels to political powers.
• Humor & Perspective: Amid the big topics, the comedians never lose sight of the laughs, punctuating everything with funny anecdotes about “brick” scams, bad dates, and the eternal comic’s habit of turning trauma (or failure) into material.

For Listeners

If you’re a comedian (aspiring or veteran), an artist grinding in obscurity, or just someone seeking real talk about the creative life and the state of modern society, this episode is a heartfelt, eye-opening, and deeply funny ride.

Watch Ian Edwards’ New Special

• Title: Untitled
• Where: YouTube (@Ian Edwards Stand Up)
• All proceeds go to: Victims of the LA fire
• Ian: “I don’t want none of that for real though. For real, for real, for real.” (172:41)