Comedic luminary Ali Wong collaborates once again with Netflix for her fourth original comedy special, “Single Lady,” which she also directs. This special was recorded during Wong’s residency at The Wiltern in Los Angeles, where she headlined the Netflix Is a Joke Festival.
I saw Ms. Wong last year when she performed a five-night sold-out residency at Washington, D.C.’s world-renowned Kennedy Center. While I knew all about Wong’s accomplishments, I wasn’t privy to any of her stand-ups, so I approached the night with a fresh set of eyes.
Ali Wong’s stand-up comedy is a unique and entertaining experience. Her bold approach, addressing a range of subjects from her life as a woman, an ex-spouse, and a mother to broader societal concerns and cultural stereotypes, sets her apart. The show, while similar to her Kennedy Center performance, reaffirms the distinctiveness of Wong’s comedy.
Ali Wong’s style is fearless, unapologetic, and highly relatable. Her personal stories forge strong connections with her audience, offering candid perspectives on parenting realities, relationship dynamics, and gender roles that resonate with many. Her ability to seamlessly intertwine humor with social critique keeps audiences laughing while feeling understood.
Her sharp-witted jokes often touch on politically incorrect themes, and her use of profanity is not just bold but also cleverly aware of its impact. Her vibrant storytelling and animated facial expressions further enhance the enjoyment of her performances, impressing and entertaining her audience.
Ali Wong’s latest special is a must-watch for a night of pure entertainment. Her sharp-witted jokes, politically incorrect themes, and clever use of profanity will keep you laughing. And for those re-entering the dating scene at forty, her exploration of these themes will be particularly enjoyable.
Final Grade: B+
“Ali Wong: Single Lady” is available to stream today
For this week’s Second Listen Sunday, I want to revisit 2004 and highlight Romeo’s debut solo album, formerly of Immature. Titled “Food for Thought” and released on June 22nd, this project marked the singer’s change of name to Young Rome in an effort to distance himself from the youthful sound of his group, much like his bandmate Marques Houston had done a year earlier.
In the nineties, Hip-Hop reigned supreme, and every label CEO wanted a share of the lucrative R&B market. One strategy was to keep singers on their roster who could deliver catchy hooks, keeping everything in-house and saving money. Bad Boy had Carl Thomas, Death Row had Danny Boy, and Roc-A-Fella had Rell, our featured artist for this week’s Slow Jam Saturday
Growing up in the eighties, I was surrounded by incredibly talented male R&B singers who could deliver unforgettable love songs. Artists like Luther Vandross, Jeffrey Osborne, and Peabo Bryson dominated the airwaves, but Freddie Jackson was another voice that truly deserved recognition.