In his bold and thought-provoking comedy routine, “Reprobate Minds Say No,” Trey Knowles delivers laughter with a sharp spiritual edge. Blending humor with biblical insight, Trey challenges what he calls the “reprobate mind” to finally say no to ungodliness.

With animated storytelling and playful exaggeration, he explains that the real power over any enemy begins with self-control. If you can say no to destructive desires, you take back authority; if you cannot, you hand your strength over without a fight.

Through witty punchlines and relatable examples, Trey jokingly suggests that sometimes your greatest enemy isn't out there—it's attached to you. The very members of your own body, when left unchecked, can work against you. Packed with laughs and layered meaning, “Reprobate Minds Say No” reminds audiences that discipline isn't just spiritual—it's powerful.

Trey Knowles' comedy script, "White Devils and Black Demons," satirically unveils the hidden powers that govern the world. The "White Devil," driven by lust and deception, disguises himself as Santa Claus while spreading his corrupt way of life—lying, stealing, and killing to gain control. Meanwhile, the "Black Demons" chase after worldly success, unknowingly serving the White Devil's agenda. Through their art and labor, they fuel his power, all while drifting further from the spirit of God.

Trey Knowles' “Hate Chicago 60606” is a comedic routine in which he humorously explains his dislike for Chicago, focusing on what he sees as the city's sinfulness. He jokingly portrays the 60606 zip code as “the devil's zip code,” claiming it's a place where much wrongdoing occurs. Throughout the performance, Knowles highlights his frustrations with the city and even praises Donald Trump as someone who could help “clean up” the devil's work in Chicago. His “hate” is less about the city itself and more about what it represents—systems that exploit people while pretending to be the center of progress.

In The Difference Between Love and Hate, Trey Knowles delivers a sharp, high-impact comedy set that challenges one of America's biggest emotional mix-ups. With quick wit and unapologetic punchlines, Trey argues that many people don't actually know the difference between being loved and being left alone.

Through clever storytelling, he flips the script: the one who corrects you is labeled a hater, while the one who lets you self-destruct is called loving and supportive.

Trey humorously calls this an “easy kill” in today's culture—just give people what they want, avoid correction, and watch the chaos unfold. Blending satire with cultural commentary, Trey explores the idea that real love challenges, refines, and sometimes rebukes.

Hate, on the other hand, shrugs and says, “Do whatever you want.” With bold comparisons and exaggerated humor, he questions whether modern ideas of freedom have blurred the line between accountability and affection. This is comedy with a message—provocative, playful, and designed to make you laugh first… and reflect right after.

In his stand-up comedy routine "Why Do You See So Many Feminine Black Men," Trey Knowles explores the cultural and social dynamics that, in his view, contribute to the rise of effeminate behavior among Black men. Blending humor with social commentary, Knowles suggests that many Black boys grow up mimicking their mothers due to the absence of father figures—a result, he argues, of systemic economic hardship and historical oppression. He jokingly frames this dynamic as "sorcery" brought on by the white man, using satire to highlight deeper issues within Black communities. Through comedy, Knowles critiques both the societal structures and cultural shifts impacting Black masculinity.

In I Am From The Hood, Trey Knowles delivers a hilarious and thought-provoking comedy special that flips excuses upside down. With sharp wit and unapologetic humor, Trey asks a bold question: What does being “from the hood” really have to do with whether you live right?

Drawing clever comparisons to biblical times—when many people lived in tents, wandered deserts, and still found purpose—Trey challenges the mindset that environment alone determines character. Through punchlines and playful storytelling, he reminds the audience that growth starts in the mind, not the zip code.

Blending street perspective with spiritual insight, I Am From The Hood is comedy with a message: you can't blame your surroundings forever, especially when you're living better than most people in ancient history. Trey brings laughter, reflection, and a fresh way of thinking—encouraging everyone to level up by renewing their mindset.

This is humor with heart, designed to make you laugh first… and think twice later.

Trey Knowles' “Lady Liberty” In this allegorical comedy, Trey Knowles portrays Lady Liberty as a tempting serpent—whispering that you can be your own god and do whatever you please. He draws a sharp parallel to the serpent in the Garden of Eden, challenging the idea of “the land of the free and the home of the brave” by exposing the deceptive freedom it represents.

In Project 2025, Trey Knowles delivers a sharp, fearless comedy special that examines America through a completely different lens—without turning it into a blame game. With a church on every corner and a Bible in nearly every home, Trey asks one bold question: If we're so spiritual, why do we still act so wild? Blending satire with biblical references, Trey playfully compares modern America to the days of Jeremiah, when leaders were urged to turn from chaos and get their house in order. What if the issue isn't politics—but priorities? What if the real “campaign platform” is character? Through clever storytelling and exaggerated comparisons to kings like Zedekiah and reformers like Josiah, Trey imagines what renewal would look like in today's culture. Project 2025 isn't a sermon—it's satire. It's Trey holding up a mirror, cracking jokes, and challenging the audience to laugh… and maybe think a little deeper. This is comedy. The comparisons are playful, the references are symbolic, and the message is wrapped in humor—not hostility.