Credit: Photo by Shelley Hiam

Reggie Watts

Auditorium Shores, Nov. 4

Reggie Watts operates in the Bermuda Triangle of comedy, music, and improv that’s swallowed any number of performers. Watts is a maestro of mouth manipulations and beatboxing barrages that contort and dive in a one-man wall of sound through looped effects. Yet the core of his craft remains comedic improv, in this case freestyled filibusters that mix pop-culture smirks with hipster winks at the pretensions of our First World problems. Those elements coalesced into a quick 40-minute set, but they rarely connected with the crowd. In fact, Watts seemed to rely more on stock material rather than riffing on the actual moment or even uniqueness of the fest or crowd itself. Watts still worked through some tongue-torqued rhythms and beats that captivated and impressed, but his comments and wordplay seemed meandering and distracted and without characteristic punch.

This article appears in November 11 • 2011.

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Doug Freeman has been writing for the Austin Chronicle since 2007, covering the arts and music scene in the city. He is originally from Virginia and earned his Masters Degree from the University of Texas. He is also co-editor of The Austin Chronicle Music Anthology, published by UT Press.