The Funniest Guy In Latin America — Lucho Mellera Talks Comedy, Cannabis, Success: ‘The Mandate To Pick Up The Shovel Is Obsolete’
He might just be the funniest guy in Latin America right now. With roughly 34 million views on his YouTube channel, millions of followers on social media, comedy specials on Netflix and Comedy Central, and a handful of sold-out shows in the U.S. checked off his bucket list, Luciano Mellera, or Lucho, as his fans know him, is a force to be reckoned with in the stand-up comedy space. Granted, he’s still got some milestones to achieve before hitting George Carlin (his favorite, by the way) status, but he’s on the right track – no doubt about it.
I remember when I first heard his jokes, more than a decade ago: “Open air is overrated: if you leave your soda water in the open air, it will take away the bubbles. If you leave still water in the open air, it will add bubbles.” He has since gone a long way, but his comedy bone remains intact; in fact, it got even stronger with the passage of time. Nowadays, he fills theatres all over the world and seems to have cracked the formula to get a copious amount of unique content to post online on a weekly basis. One of his biggest talents is crowd work, and this means every show is different. Of course, there’s a scripted section, but that one cannot be spoiled before a tour ends. Crowdwork, on the other hand, an improvised art form, allows him to publish his hilarious videos consistently.
“I am now very present on social media, something I didn’t work on before. I believe the most significant change was figuring out how to generate content for social networks without deviating from what I do. I am still doing the same thing, which is comedy on stage, stand-up. I’ve now found a way to periodically share it, which is what all current comedians do, improvising with the audience,” Mellera shares, opening a window to his creative process and his approach to connecting with the audience in the digital world.
Mellera’s adaptation to the digital space is illustrated by his comparison with an anecdote of suitcases and their wheels. “I believe Luis Piedrahita said something like, ‘We’ve had suitcases and wheels for decades, but at some point, someone decided to combine them’… Well, the same happened with crowd work and social networks. They’ve both existed for quite a while, but now we’ve finally merged them,” he explains, demonstrating his understanding that innovation often arises from combining existing elements in new and creative ways. This ability to merge crowd work with social networks has been key to his success, allowing him to maintain a constant and dynamic dialogue with his audience.
His Netflix special marked a turning point in his career, not only because of the international exposure but also because of the lessons learned about the nature of his comedy. “In my Netflix special, I was already doing crowd work, but I did it with much more closed prompts,” Mellera reveals. This experience taught him the value of openness and improvisation, leading him to explore broader and more diverse themes that resonate uniquely with each presentation. Mellera’s search for “prompts that are inexhaustible” reflects his commitment to creating humor that not only entertains but also constantly renews itself, offering his audience a fresh and relevant experience.
The challenge of finding comedy in everyday life, in curious facts, or in spontaneous discussions with the audience, has become a Mellera signature. This approach to crowd work allows him to weave a comedic tapestry that is both intimate and universal, offering a reflection of society with a unique blend of sarcasm, wit and warmth. “Sometimes it works better than others. But I think what I strive for is to find prompts that are inexhaustible,” he comments, highlighting the balance between risk and reward inherent in his art.
Not A Star; Not Underground Either
Far from seeing himself basked in the typical stardom of celebrities, Mellera maintains a grounded and accessible view of his success. “I feel that almost since I started, I wasn’t in the comedy underground; I was closer to the mainstream. Perhaps what was underground was comedy in Argentina. But my time having to hand out flyers and endure the struggle was quite short, fortunately,” he shares, reflecting deep humility and gratitude for the path he has taken. This perception stands out even more when contrasting his experience with the reality of many artists tirelessly fighting for a place in the entertainment world.
Lucho Mellera. COURTESY OF LUCHO MELLERA
His relationship with fame is complex and nuanced, especially in a Latin American context where comedy, despite its growing popularity, does not reach the same level of mass recognition as music or acting. “I think, especially in Argentina and Latin America, comedy is not as mainstream as acting or music. So whoever is mainstream within comedy is not quite a star. I don’t believe I’m famous, but I’m one of those who are known in comedy. Maybe now a little bit more because of social media,” he explains, reflecting on the ephemeral and segmented nature of fame in his field.
For Mellera, comedy has never implied sacrifices. His vocation and passion are deep. “With comedy, the truth is that I never felt that I made any sacrifices. Not even at the beginning, when I had to hand out flyers and perform comedy for free. I would have paid. I would pay to do what I do. I mean, I don’t need to be paid to want to get on stage,” he recounts with emotion.
Mellera’s international success, with sold-out shows in large theaters in Spain and an enthusiastic reception in the United States, is for him an unexpected and exciting achievement. “Throughout last year, filling shows, months in advance, in large theaters in Spain… For me, that’s crazier than a crazy place, it’s crazy that they’re full. And then yes, I think getting to the United States was insane,” he shares, revealing the surprise and joy these triumphs bring him, tangible evidence of the universal impact of his humor.
Mellera’s personal narrative, marked by the socioeconomic context of Argentina in the early 21st century, is fundamental to understanding his approach to life and his career. As he recounts:
When I was young, I finished high school in 2002. Americans are probably not aware but, in 2001, Argentina went through one of the worst times in its history… And I entered the adult world a year after Argentina hit rock bottom. One day, a teacher said, “Today we’re not going to have a regular class because everything is on fire and I have to talk about this because at some point you’re going to find out. Everything is screwed. Argentina is doing poorly and will be doing poorly for a while, and it’s going to take a couple of generations to recover. The first one is yours. So I have good news and bad news. The bad news is that until very recently, up to the generation before yours, when you studied a career from the so-called classic ones, you already knew you had a future assured, that you would reach 40 with a family, a house, a car and then it was just waiting to die. That’s not going to happen anymore, never again. You will not be able to think about having your life sorted because nothing will guarantee it for you. That’s the bad news. The good news is that knowing this, you won’t have to choose something thinking from the economic side. Dedicate yourselves to what you want, do what you want. And whether it goes well or poorly, at least it will be doing what you …