Chloe Petts’ first stand-up performance was a startling success – a packed pub basement, ten shots, and a triumphant set. But the euphoria was fleeting. Her second gig, an attic above a pub, was a brutal five-minute comedown, a stark lesson in the unpredictable nature of stand-up. It forced a crucial question: was this rollercoaster worth riding?
Now, Petts is poised to launch her biggest tour yet, “Big Naturals.” The title, born from an inside joke with Ed Gamble, hints at the show’s core – a mischievous, nostalgic look back at growing up as a ‘child geezer’ during the height of 90s and early 2000s ‘lad culture.’ It’s a period she dissects with both affection and critical awareness.
“Big Naturals” isn’t a simple celebration of the past. Petts acknowledges the darker side of that era, a time when misogyny wasn’t just tolerated, but actively glorified in magazines and comedy. Yet, she also recognizes the genuine fun within it, embracing the nuance of a complex cultural moment. “It created a framework where lads are allowed to be aeholes,” she explains, “but a lot of the stuff was really fun.”
Music was central to Petts’ experience of ‘lad culture.’ She was drawn to the simplicity of bands like Oasis, admiring how their unpretentious sound resonated with a generation. Noel Gallagher’s belief that Oasis’s brilliance stemmed from its accessibility struck a chord, mirroring Petts’ own approach to connecting with an audience.
Family plays a significant role in “Big Naturals,” with Petts sharing childhood anecdotes – with permission, and a touch of artistic license. She recounts a story about her brother’s childhood tears, a detail he finds amusingly exaggerated. These personal stories are interwoven with broader reflections on her upbringing.
Growing up, Petts navigated the conflicting worlds of Christian rock and the burgeoning ‘lad culture.’ The emotional power of church music contrasted sharply with the restrictive teachings she encountered. A frank conversation with the Vicar’s wife about her sexuality resulted in a dismissive rejection, a moment she met with youthful defiance.
Finding humor in trauma is a defining characteristic of Petts’ work. She confronts the homophobia prevalent in the comedy of the time, acknowledging how it shaped her own self-perception. “It taught you that butch lesbians were aggressive and a laughable group,” she reflects, “I think I probably overcorrected myself at that time.”
Today, Petts’ stage presence exudes confidence, embracing both silliness and vulnerability. She sees a compelling tension between the “aggressive football lout” and the “soft feminist,” a dichotomy she expertly exploits for comedic effect. This blend of strength and sensitivity is clearly resonating with audiences.
Her success has extended beyond the stage. A debut on “Live At The Apollo” marked a career milestone, followed by a sold-out UK tour and appearances on “Have I Got News For You” and Hannah Gadsby’s Netflix special. “Have I Got News For You” remains a daunting challenge, requiring quick wit and the ability to impress comedy legends.
Panel shows, she laments, are a skill slowly fading from the comedy landscape. While intimidating, they offer invaluable experience. Petts embraces the occasional public failure as a necessary part of growth, acknowledging that “it’s okay to muck it up sometimes.”
She readily shares a particularly embarrassing on-air blunder – mistakenly asking Scott Mills about his wife, revealing her own assumptions about his sexuality. Despite the initial mortification, she now finds the incident hilariously ironic. It’s a testament to her ability to find humor in awkward moments.
Petts views her recent success as the culmination of eleven years of hard work. She describes it not as a sudden wave, but as a gradual, rewarding journey. “I’ve been allowed to just practice, develop and have fun really quietly,” she says, feeling prepared and equipped for the opportunities ahead.
She feels ready to embrace the momentum, grateful for the experiences that have shaped her. “I’ve done the training,” she concludes, “and I’m ready to keep doing all of these amazing things.”
