Big Headliner Energy

In 2016 I was in the finals of the Ventura Comedy Festival Competition. I was in my second year of stand up and couldn't believe I beat out 100 other comics to be in this position. In the greenroom one of the headliners from an earlier show was talking about stage presence. He said to another comic, "I can watch a comic and in five minutes I know if they're a headliner, feature, or opener." I was a little taken aback by the statement. Because I was thinking, there are a lot of headliners I'd seen who weren't that polished or confident, but I was unaware of comedy persona and branding at the time. I just assumed the funniest comics became headliners. But then as I continued doing stand up, I realized there is an attitude and a demeanor that lets the crowd know they are the main event. Let talk about a few things that make headliners, which gives them that Big Headliner Energy.  

Placement in the Lineup Matters 
Part of what gives a headliner an edge, besides the experience, is having the opportunity watch the show play out a little. They can evaluate the crowd and see what types of responses they give different jokes from the openers. While headliners have an established act, seeing the way people respond can bring a different level of expectation to the stage. Often, openers are more nervous because they are walking into the unknown. The host is taking the bullet, and then the feature has to assume the response the crowd gave the host will be similar until it isn't. But after 30 minutes or so into a show, a headliner can walk up and acknowledge the crowd's attitude, make the adjustments needed, and have a better game plan entering their set. Try to scan the room early, and read the room. If they're talking and laughing at their tables, they're here for a fun time. If they look bored by their own company, you might need to bring the energy earlier. This is a huge part of Big Headliner Energy.     

Walk to the Stage Like You Own It 
Despite not always knowing what kind of set you will have, I highly encourage you to take the stage with the right energy for you. Some comics like to wave (Jerry Seinfeld) and some like to look upset (Lewis Black). Steve Martin would do his false humility "oh stop" act. Regardless, the act of being you as you walk on stage is crucial to adopting Big Headliner Energy. I see too many comics be more concerned with setting up the stage to their specifications first. Moving the stool around. Putting their phone and keys somewhere. Having access to their drink. They completely ignore the audience. Your set begins one second before the host announces your name. You need set a vibe as the attention switches from the host to you. If you are the host, then set that vibe up front. Big Headliner Energy demands some type of respect. If you look lost, scared, confused, nervous, etc. the crowd will feed off that energy too. 

I'm not talking about high energy either. It might be suave energy, angry energy, smiling energy, single dad energy, fun mom energy, etc. But it's your act's energy starting the set off, and then you can carry that through your show.

Don't Care About the Outcome 
One sign of Big Headliner Energy is having an attitude that doesn't care about the outcome while on stage. You can care before and after the show, but in that moment, you have to accept that sometimes the jokes land hard and sometimes you get to steal a check. Big Headliner Energy means you don't live or die on every joke. You are trying to connect with the crowd. You are working the stage and not flustered by what's going on around you. Everything that happens around you is now game for the show. 

Too often comics wear their emotions on their sleaves. A look of shock hits their face when a joke doesn't land. A look of relief washes over them when a joke does well. You shouldn't be surprised by any response. You should adjust if needed, but the audience shouldn't know that you are. The goal is to be a pro every time. A few weeks ago I had a group of positive hecklers. One lady yelled out "yes! I know!" after every set up. And then another lady would throw out her own punchline after each set up. Both were annoying. Both threw off any mood or rhythm I was establishing. Both ruined jokes with eventual call backs. But I couldn't demonstrate an anger that said, "this is my show, you idiot!" That would be wrong. 

Instead, I had to act as if this normal, and I know what to do. Which I do. I politely told the "Yes Lady" that laughter is sufficient for the show, and she then realized she was blurting out loud. I then told "Miss Punchline" that heckling isn't allowed, because I'm getting paid by the punchline, and she's stealing my money. She shut up after that. Acknowledgment is fine. But showing them it really bothers you - not going to fly. By acting as if you have been explaining the rules of audience etiquette since you started, you'll win them back quickly.           

Final Thoughts 
Being a headliner isn't just about the years put in, the credits, or the amount of material you have. There are plenty of comics who have material and years and TV credits, but they don't bring that Big Headliner Energy. Like the comic I mentioned earlier, who said he can tell if someone has a headliner, feature, or opener vibe when they walk on stage, there is an energy you must hone in to be the best comic version of yourself. You get there by getting up as much as you can, taking the punches, and getting to the point where you aren't surprised by how the night ends up.

​Because in some weird way, you expected it the whole time. The ability to roll with the punches and command the room is the Big Headliner Energy we all need to capture to be the comic we were born to be.