Trey Knowles' “Chasing the Wind” is a hilarious stand-up routine where Trey breaks down life's greatest scam: vanity on top of vanity. Everybody's out here sprinting after success, money, and approval—basically chasing the wind… and spoiler alert: the wind never clocks in.

In the set, Trey tells a wild allegory about his son-in-law's dad, who worked himself into the ground and never actually got around to living. Now the son-in-law says he misses his dad and wishes he could come back to life. Trey fires back, “Your dad does NOT want to be resurrected just to punch another timecard. Heaven ain't got a 9-to-5!”

The routine turns into a comedy sermon about hustling yourself into the grave, grinding just to die tired, and realizing too late that you spent your whole life chasing the wind instead of enjoying the breeze.

It's a funny, sharp, and painfully relatable take on working hard, missing life, and learning the ultimate lesson: don't die exhausted from nonsense.

Trey Knowles' Love and Hate is a sharp, thought-provoking comedy special that dives into the messy realities of human emotion. With humor and plainspoken wisdom, Trey reminds us that love corrects—even when it's uncomfortable—while fools despise instruction and refuse to grow. Through laughter and truth, Trey challenges audiences to confront resistance to correction, arguing that rebuke, when rooted in love, helps others learn and mature. He draws a clear contrast between love and hate: love seeks restoration, while hate lives in condemnation, offering neither repentance nor mercy. At the heart of the special is a simple but powerful question: Are you zealous for love or for hate? Because in the end, the choice is yours—you either love what is good or hate what is evil. Packed with laughs, insight, and common sense, Trey Knowles delivers a message that sticks long after the punchlines land.

Trey Knowles' “Tarzan Transitive” is an allegorical comedy that uses satire to question how society approaches belief, identity, and acceptance. Through exaggerated humor, Knowles invites the audience to consider how certain claims are embraced without critical examination.

In one comedic example, he jokingly describes himself as an ape, prompting laughter because of the obvious absurdity of the claim. This moment is used as a metaphor to explore how ideas can feel emotionally convincing while still appearing illogical when taken literally.

The comedy is designed to provoke thought and discussion rather than offer literal judgments, relying on parody to challenge the audience's assumptions. Trey explains, “You see, all of this sounds like a schizophrenia mental illness when taken literally,” urging the audience to reflect critically.

Justifiable American Tails is a bold and hilarious stand-up comedy by Trey Knowles that exposes the irony of modern justification—where claiming to be “without sin” becomes permission for the American Justice League to act without restraint. Through sharp satire, Knowles likens this mindset to modern-day Roman or German systems dressed in the language of Christianity, where Jesus is spoken of, but His spirit and actions are nowhere to be found. This comedy feels like witnessing a modern Barabbas moment, not among ancient crowds, but within the citizens of America themselves. The audience is confronted with a powerful question: what do we choose—true moral righteousness or a system elevated into a personal religion, justified for some and condemning to others? With fearless humor, Trey Knowles contrasts Constitution versus conscience, delivering a stand-up performance that is both laugh-out-loud funny and uncomfortably revealing.

Trey Knowles' The American Esau is a funny stand-up piece in which Trey travels to Arkansas to visit his friend Esau—a redheaded lawyer who loves guns and blowing things up. Esau takes Trey hunting to introduce him to his way of life, proudly showing off his passion for destruction. As the trip unfolds, Trey tries to understand why Esau kills animals he has no intention of eating. The mystery deepens when Trey reveals that Esau once possessed a special birthright—the Book of Truth—but traded it away for a gun so he could continue destroying things.

Trey Knowles' The Real John Wayne is a hilarious stand-up in which he recounts a trip to Texas to visit his white Uncle Bobby, a Constitution-loving gun enthusiast. Through stories about Uncle Bobby and his friends, Knowles takes a sharp and insightful look at human behavior—especially their racial attitudes.

He compares these gun-worshipping personalities to their idol, John Wayne: people who glorify violence and seem ready to shed blood at any moment. The irony, and much of the comedy, comes from the fact that they proudly call themselves Christians. With humor that feels uncomfortably real, Knowles exposes the contradictions and behavior of Uncle Bobby's circle, touching on experiences as tense and revealing as driving through a sundown town.

Trey Knowles' The Justice League is a short, comedic satire about “superhero Christians” who compromise with the world—even though God the Father tells us not to love the world. Instead of following Him, the Justice League Christians do the opposite, claiming “liberty for some and justice for all.”

Trey jokingly portrays them as flag-waving, gun-worshippers. When the Justice League becomes offended and asks, “Why are you judging me?” Trey humorously responds, “I don't even know you—and why are you pointing your guns at me?”

He then walks away, ending with the reminder that whoever wants to be a disciple of Jesus must deny themselves.

In “Higher Education of America,” Trey Knowles delivers a sharp, funny comedy set aimed at college students, calling out the hypocrisy of their parents—many of whom are now judges and lawyers. Knowles humorously reminds students of their parents' own wild behavior during their college years, especially at fraternity parties, and contrasts it with the moral judgment those same parents now pass on others. With playful embarrassment and a memorable joke about “casting the first stone,” Knowles exposes the double standards behind authority, respectability, and self-righteousness, turning laughter into a pointed critique of hypocrisy.