Eve Cote found her storytelling voice at Brise-bise in Gaspé

eve cote says her storytelling talent surfaced when she started working in customer service, and she traced that instinct back to a server job at the Brise-bise in Gaspé. Asked by France Beaudoin when she realized she could tell a story, the humorist described a workplace where making customers laugh came quickly.

Brise-bise in Gaspé

“Quand j’ai commencé à travailler comme serveuse au Brise-bise, à Gaspé, c’était comme facile. Un client me disait quelque chose, et pop, pop, pop, je les faisais rire. J’étais super bonne, j’étais vite,” Côté said. It is the clearest answer in the segment to a simple career question: the stagecraft came out of service work, not the other way around.

The setting matters because the anecdote lands inside a one-hour segment built around Côté’s voice, not a broad career retrospective. That gives the exchange a practical edge for anyone trying to understand how a humorist develops timing: she was describing repetition, quick reactions, and the kind of back-and-forth that rewards speed more than polish.

Provigo and the cash register

Côté also said she worked as a cashier at Provigo, where she said she loved the job. Her second quote turned the memory into a physical one: “J’étais quick! Je me suis déchiré une cuisse à sauter par-dessus la caisse pour aller chercher un prix parce que le commis en épicerie était trop slow!”

That injury adds the story’s friction point. The same quick reflexes that helped her make customers laugh also pushed her into a split-second move at the register, and the result was a thigh injury. For a reader trying to map where her performance style came from, that detail is more useful than a generic origin story: it shows speed, improvisation, and a willingness to act before the moment passes.

France Beaudoin’s question

Beaudoin’s question set the whole exchange in motion, and Côté answered with two customer-service jobs that taught her how to read people fast. She pointed first to the Brise-bise in Gaspé, then to Provigo, connecting storytelling to work where the audience was standing right in front of her.

The clean takeaway is that Côté did not describe storytelling as a sudden gift that arrived onstage. She tied it to service work, where a joke, a pace shift, or a quick response could change the room in seconds — exactly the kind of training that fits a humorist who still sounds like she is talking to a customer across a counter.