Getting weird in West London – Heavenly Comedy and Battersea Power

Liam Malone opening proceedings at Battersea Power Comedy
I did two spots this week, the first at Heavenly Comedy in Shepherds Bush on Wednesday, and another at Battersea Power Comedy on Thursday.

It’s been a while since I did a spot at Heavenly Comedy, and this was the first time I’ve been to the new venue, The Princess Victoria, a really nice pub with a big upstairs function room where they host the gig. I got there early, so I had a burger in the bar which was pretty decent. 

Apparently there was some trouble with the Tube, so a few people couldn’t make it, including whoever was supposed to bring the mic. Without a mic it’s not a comedy gig, it’s just a bunch of people taking it in turns to shout at a room full of randoms, but we powered through regardless. 

It was a weird night – it kind of reminded me of some of my early open mic gigs where half of the acts were deluded, deranged or just hopeless. It’s not a bringer so there was almost no audience other than the acts, but a couple of locals had wandered in, a twenty-something woman and her mum. The mum clearly didn’t understand that she was at a comedy night and spent the whole time trying to join in the conversation.

Clearly the night was going to be an uphill battle, and any small reaction you could get from the audience was a victory, but it’s all good practice. A bunch of people who’d just been through the Amused Moose comedy course showed up to do their first gig after their showcase night, and to be fair most of them did OK.

I went on first, which was a struggle under the circumstances, but the MC (Maltese guy with dreadlocks, didn’t catch his name) did a solid job of injecting some energy into the room. I ploughed through my current set, steamrolling over the mum when she tried to share her thoughts, and got a few laughs out of the audience. It wasn’t exactly a legendary performance, but it’s always good to rehearse, and in the end I was glad to just get my turn over with so I could relax and watch everybody else.

A woman on roller-blades who seemed to be completely shitfaced rambled on about dick-pics and slut-shaming without any punchlines, and seemed genuinely taken aback that nobody laughed. She completely derailed one of the better act’s closers by falling off her skates and dropping a drink just as he was about to land the punchline. After the gig she tried to start an incoherent conversation with me and wanted to give me a badge with a photo of a dick on it. I politely backed out of that discussion.

I didn’t really know anybody, apart from a Portuguese guy I’ve seen around recently, and Don Biswas, who was very friendly when I first met him last year at another gig.

The next night I went to Battersea Power Comedy, and my wife tagged along to see me for the first time in over a year. It was a good night with some great acts, and it’s a bringer so there was a reasonable audience.

The opener was a Kiwi Paralympic gold medallist (Liam Malone) who had some great material to work with and set things off to a good start. I went up second and did a slightly tweaked version of my current set. I took a risk and dropped my usual opener, instead starting with a bit that takes a while to get to the punchline but always delivers, and that gave me  extra time to try longer versions of the middle bits. Also, I’ve been closing with the racist baby bit, but even though it gets good laughs it’s not been working as a closer because of the way it kind of tails off, so I kept it in but finished on a punchy, reliable one liner that always gets a big laugh.

It all worked well and I got some good feedback after the gig from the MC and some of the other acts.

As well as Liam, some other acts who really impressed me were Dave Muller, who took dick jokes to a whole new level, and Aussie, James O’Connell, who absolutely murdered the room with his alpha big-dog schtick.

Feeling pretty good about it all at the moment. I’m getting much more comfortable with my material, and that’s helping me to improve my delivery, and I’ve been getting some good feedback from people, with a few of them telling me I’m looking a lot better up there. My wife seemed surprised at how different my material was from a year ago, and impressed at how much more polished I look on stage – but it all comes down to practice, if keep going up and working on it you can’t help but get better at this.

I think my current goal is to keep polishing this stuff, make it even tighter, but try and build it up to a solid 15 and then 20 minutes.

Next week I’m at Sam Rhode’s Comedy Explosion in Shoreditch on Monday, then the Cavendish on Wednesday.

 

 

 

 

 

Look mum, no notes!

Mouch doing his first MC spot.

Last night I went Back to We Are Funny Project in Dalston for the first time since they took their August break. Feeling confident after a good night at Angel Comedy RAW last week, I decided to go bareback and do my current set without any notes at all.

The MC gave me a nice intro, something along the lines of “This next guy is proof that we believe in freedom of speech at this venue – I don’t know what he’ll do tonight but he’s usually pretty far over the line…” It’s always interesting to get an idea for how other people view your material, and if that’s the kind of reputation I’m getting then I’m happy with that.

The set went pretty well I think – I didn’t forget any of my stuff and I felt comfortable enough with the material that I was able to concentrate a little more on delivery and stage presence. Almost everything got a laugh (although I still need to figure out how to end Racist Baby properly) and the set was almost exactly 5 minutes long.

A lot of the stuff in this set is condensed versions of longer bits, so I think I could comfortably make the same material run to 7 minutes if I needed to, and even 10 minutes or more when I add in other polished stuff I’ve got on the same topic.

It felt like a strong gig, and the MC, who’s seen me performing for about a year, told me I looked like I’d stepped up a level, which is good to hear.

I was the fourth act of the night, so I could kick back and enjoy the rest of the show. It was a pretty good night all round – Mouch and Helena, who I know through this blog, were both there. Mouch was MCing the second half of the show as he recently did WAFP’s MCing course, and did a decent job of it (when he could be bothered to remember the acts’ names). Helena is still pretty new and smashed her 16th gig with some really strong bits.

Apart from the headliner, Brandon Palmer, the act who really stood out for me was Mary O’Connell who blew the room away and earned an instant invite from the MC to WAFP’s polished material night. Keep an eye out for her.

I don’t want to jinx it, but there’s a chance I might have been offered a paid 10-15 minute middle spot at the end of the month. More news on that if/when the details firm up, but in the meantime I’m trying to get as much stage time as possible before then. Next week I’m at Heavenly Comedy in Shepherds Bush on Wednesday and Battersea Power Comedy on Thursday, then the week after I’m doing Sam Rhodes Comedy Explosion in Shoreditch and Comedy Virgins in Stockwell.

They finally let me on Angel Comedy RAW

Headliner, Toussaint Douglas, bringing it home.

I’ve been trying to get a spot at Angel Comedy’s RAW night for over a year. They run the famous Bill Murray comedy venue in Islington, and RAW is the new act/material night they run in the upstairs room of the nearby Camden Head pub.

This week I finally got to do a spot there, and it’s easy to see why it’s such a popular night. Yes, it’s an upstairs pub room, but it feels like a proper comedy club, and that’s helped by the fact that they manage to pack the room with a lively audience, without relying on the acts to bring people.

The lineup was pretty small compared to the nights I normally do, just eight of us on the bill. I was second to last of the night, and happy to be there because I’d had a bad migraine all afternoon, which really takes the wind out of my sails, so I was grateful to have some extra time to get myself in the zone. There’s a little green room for the acts to wait in before they go on (and by green room, I mean a small corridor by the fire-escape) and it was good to be able to hide out there away from the audience while I cleared my head.

All of the other acts were solid, and I was a little worried that I’d be the weakest link because I wasn’t feeling great but, once the MC called me up, my twitchiness evaporated and I got into the moment. Having a good opener that you don’t need to think about really helps with this. Whatever you’re planning on doing with the rest of the set, if you know you can do your first minute on auto-pilot, that gets you off to a strong start and gives you time to get into your stride before you get to the parts where you have to concentrate a bit harder on what you’re doing.

As it turned out the whole set went brilliantly. I made a conscious effort to be more relaxed and conversational with my delivery, to avoid sounding too rehearsed. It’s hard to pull this off, because the material is very rehearsed. A trick I used was to focus on one audience member in the second row and managed to convince myself I was having a conversation directly with her instead of performing for an audience. It felt like it worked better, but I don’t know if it came across like that.

They laughed at everything, there were no awkward pauses while I waited for laughter that wasn’t coming. I closed on the Racist Baby bit and that went down well, although I need to work on it more because the punchline gets a decent laugh but it feels like I’m ending the story halfway through when I finish the set.

I really wanted to do well at this gig, and in the end I think I did a decent job .

I didn’t recognise any of the other acts apart from Jamie Oliphant, who opened the show and put in his usual strong performance. In the bar I had a chat with Mango Stone, another mid-life soldier, who’s been going on and off for about five years – she delighted and disgusted the crowd with her graphic exploration of her aging muff.

I also got chatting to Joe Yaffie, a very new act who did an amazing job considering it was his sixth gig ever – after he watched my set he realised I was the guy who writes this blog, because he’d read about the racist baby bit in an earlier post. That made me realise that I’ve kept this thing semi-anonymous because when I started out I didn’t really want people to know I was doing it, but I think I’m OK with putting my real name on it now.

Next week I’ll be at We Are Funny Project on Monday.

Gig Count: 55

 

 

You need to give inspiration time to strike

In an earlier post I wrote about my “racist baby” bit, which came from the real experience of my kid being scared of black people when he was really little. I’ve always liked the premise because the idea of this tiny, innocent baby being innately racist was funny to me, but in practice it’s a mediocre bit – the payoff isn’t strong enough to justify the fairly lengthy setup.

That changed yesterday, when I went back to Sam Rhodes Comedy Explosion. I’d been thinking about the bit all day, trying to find ways to build it up into something stronger. While I was running through it in my head I came up with a new line which makes the setup funnier, and defuses the tension which inevitably builds when you talk about racism.

I was on at the end of the night, around 10:30, so a few people had left but there was still a respectable audience for a Monday night non-bringer gig, but the energy in the room was definitely flagging. Most of my bankers worked pretty well, while some of my more mediocre stuff fell flat, but I didn’t take that to heart under the circumstances.

I closed with the racist baby bit, and right from the start it seemed to go better than it has before, even with a flagging audience – I think partly because I tried to deliver it with more commitment, like I talked about in my last post. I dropped in my new line and it got the biggest laugh of my set, and that meant the punchline, which followed shortly after, did pretty well too because the audience was primed for it. I think the punchline could still be improved, so I’ll keep working on it, but that new line in the middle helps the whole thing work a lot better.

In this lecture on creativity, John Cleese talks about the importance of playing with ideas and I’ve learned that myself – ideas need time to evolve into something better. It’s tempting to ditch bits that aren’t working well, but if you like them enough to keep trying them out and thinking about them, the answers will come eventually.

I wrote just four short words on the back of my hand to help remember the middle bit of my set, but I barely had to glance at them so I should probably just stop being such a little bitch and stop using them altogether.

I’ve got a bunch of gigs lined up for October already and I think I can get away with doing a bit more than one a week, which makes me happy. I feel like I’m making progress with my material and delivery, so I’m itching to get more stage time.

Next week I’ll be at Angel Comedy RAW on Wednesday night, where I’ve been trying to get a spot for ages, so I’m looking forward to that.

Sam Rhodes Comedy Explosion, and my first international gig

A cloudy San Francisco from my hotel room window.

Last week I was in San Francisco for a work trip, so I checked out the open mic scene before I went and planned to do some spots while I was there. In the end I only managed to do one spot – a combination of jet-lag, catching a cold on the way out, and a busy work schedule meant I couldn’t get to as many gigs as I’d hoped.

I landed on Sunday afternoon, checked into my hotel and then went to an open mic night called OMJG, run in a gay nightclub called OMG on Sixth Street close to my hotel. The gig started at 5:30pm so I got there on time to make sure I got a spot, but I didn’t need to be so punctual. In contrast to the way London gigs work, acts just drifted in and out of this place throughout the couple of hours it ran, and nobody had problems getting a spot.

I think the locals must treat it as a warm-up before they go to do other spots later in the evening, and there doesn’t seem to be a problem with acts leaving the gig once they’ve done their spot. At first the place was pretty empty so I thought I’d just be performing to a handful of other acts, but eventually a group of four boisterous gay guys came in and sat in front of the stage, so there was at least a small audience.

To be honest I was so spaced from having only just got off a 13 hour flight that I pretty much gabbled nonsense at them for five minutes. I tried to address the fact that I was a Brit by opening with some stuff about Brexit (“I was going to talk to you guys about Brexit, back home we’ve got a problem with mad old racists taking control of the country and fucking everything up for us, but I suppose Americans wouldn’t find that stuff relatable in any way…”).

It didn’t really get much and I probably should have just gone straight in with a punchy opener instead, but I think they gave me a break because I was obviously out of my element, so they were friendly enough. I fumbled through some of my usual material but did a shitty job of it, got a few laughs and a couple of groans at the nasty bits, but it was undeniably a complete car crash. I think the audience were more impressed with my accent than my material.

The other acts were friendly and I stuck around to the end of the gig, although by that point I was pretty much the only person watching the final spot as everybody else drifted off.

I got out of there at about 7pm, and the next gig was at a nearby Irish bar at 9pm. I didn’t want to sit in a bar by myself for a couple of hours so I went back to my hotel room; a fatal move because once I sat in the armchair I was done for and couldn’t summon the energy to go back out. I told myself I’d do more spots later in the week, but I didn’t get a chance to slip away from work, so that was that. I’m glad I did at least one.

Back in London this week I did my first spot at Sam Rhodes Comedy Explosion in Dalston. Unusually for an open mic it takes place in the main bar of a pub on Shoreditch High Street, rather than a side room, which means that even though it’s not a bringer night there’s still a half decent chance of a proper audience showing up.

It’s a nice gig, Sam plays MC and keeps the mood bouncy with his own up-beat material, and the random audience element makes it more fun. The night is split into three sections, and while you know which section you’ll be in beforehand, where you are in the running order for that section is the luck of the draw. I prefer this to the nights where you get called up completely at random, because at least you have a rough idea of when you need to mentally prepare to go up.

I went up towards the end of the middle section and, while I didn’t kill, I did get respectable laughs for most of my stuff, even if my closer flopped a bit. I think I need to do a bit of writing, because I’m getting comfortable with my current chunk of material and I’m starting to sense where it already works well and where it needs to be tightened up. My closer used to get a couple of big reliable laughs, but it’s not working as well these days, maybe because I’m not delivering it with the same gusto.

I was listening to an interesting podcast recently on the topic of commitment in comedy, and how being really committed to a bit can help you make controversial material work, so I think I’m going to try that before I do any major re-writing.

I bumped into a few people I recognise at the gig:

  • The majestic Ruby Carr was aflame, and I both hate and love her for being so good at this.
  • Micah Hall, I’ve seen around quite a bit recently and it’s nice to see how well his act is developing.
  • Ginnia Cheng, we’ve been chummy for a while now and she gets better every time I see her.

Also, Vanessa Hua, introduced herself during one of the breaks because it turns out she’s a reader: *waves* – a few people who read the blog have introduced themselves at gigs and they always start by saying “I know this probably sounds a bit weird, but I read your blog…” Honestly, it’s not weird, I like saying hello to you lot.

I’m still not happy about only doing one gig a week, but life’s changing at the moment – so it might be a bit easier to step up to a couple of gigs every week soon.

I was supposed to be at the Cavendish this Wednesday, but I’ve had to cancel that due to a work thing, so my next gig is back at Comedy Explosion next Monday.

 

 

 

 

 

Going on stage drunk at Battersea Power Comedy

Back to Battersea Power Comedy this week. The gig runs in the upstairs room of the Duchess pub, which does great food, so I’d arranged to meet a friend there for dinner beforehand and ended up getting through a couple of pints and most of  a bottle of wine before it was my turn to go up.

I usually don’t drink much at gigs, especially before I’ve done my set – but I wanted to hang out with my friend, and I was feeling pretty confident so I wasn’t too worried about going on stage a bit pissed. It was mostly OK, but at one point I completely blanked in the middle of a bit and it took me a few seconds of flailing before I got back on track. That doesn’t usually happen to me,  so I have to put it down to the booze.

I think being a little pissed on stage might be a good thing for me, but only if I’m delivering material that I’m very confident and practiced with so there’s no danger of me forgetting bits. Just the right amount of booze might help me to look a bit more relaxed.

I’ve had a few flashes of inspiration recently and written some new bits to add into my main set. Because it’s all loosely on the same topic (parenting) it’s easy throw the  new bits into the mix with more polished material for each gig. I tried out a couple of new bits that I came up with this week and they both worked fairly nicely, so I’ll keep them. I’m reasonably confident that I’ve got enough serviceable material for a 10 minute set, although whether I could remember it all is a different matter.

It was a fairly busy night with 15 acts, and I hadn’t seen a lot of them before – there seemed to be a lot more newbies on the bill than at most of my recent gigs. I did bump into the Italian guy I mentioned in my last post, who did a much stronger set this time.  Vasek Pernikar was there, I’ve seen him a few times now and really like his act – he’s got the market cornered for slightly creepy weirdness. Likewise, I’ve seen Dan Mahony a few times recently and he’s shaping up into a solid act.

Finally, there was an American guy called Brooke Hoerr who I thought was pretty good – although that’s probably because we both cover similar themes in our material.

Everybody stuck around in the bar after the show and it was good to talk to some of the other acts. At most of the gigs I do people tend to disappear as soon as the show ends, so I don’t get much opportunity to compare notes with others.

At one point a woman who was in the audience spotted me propping up the bar and creased up as she walked past, then she came over for a chat. Not gonna lie, that gave my ego a boner.

I’m off to San Francisco for a week now and I’ll be trying to do some open mic nights while I’m there. When I get back I’ve got a couple of spots booked at Sam Rhodes Comedy Explosion in Dalston – I’ve never done that gig before, but I’ve heard good things so I’m looking forward to it.

 

How do I find a comedy open mic night near me?

One of the most common problems for people starting in standup is finding somewhere to perform. Bigger cities will usually have a lot of comedy open mic nights, but it can be harder to find spots if you don’t live in one of those places.

The first thing I learned was that it’s actually pretty hard to find open mic nights through Google. The reason for this is that the scene in any area will change a lot over time, and keeping an up to date list of nights takes ongoing effort. So if you happen to find a website listing local comedy nights, there’s a good chance it will be hopelessly out of date (although I try to keep an up to date list of London open mics, I’m sure I’ve missed some). Also the people who run the nights often don’t make web pages for them because it takes a lot of effort. So, in this case, Google isn’t your friend.

Facebook is going to be more helpful. The people who run open mic nights are much more likely to create a Facebook page to promote it (because that’s easier than building a web site) and this is usually where you’ll find information about how to get a spot.

You’ll also find that in a lot of areas there will be Facebook groups for local comedians, which will be a good place to find nights. Either that, or more general local groups that have information about all open mic nights in the area including music, poetry, and other bullshit. You might also find anything-goes nights that let comedians, musicians and others perform on the same bill.

So, the short answer to how you find a comedy open mic night near you is to search on Facebook. You’ll find pages for the nights themselves, or local groups that will point you in the right direction.

Another option is to use an online open mic directory. There are a few sites in the UK that can help you find spots around the country – although they don’t always have the most up to date information because the open mic organisers don’t add the details of their own nights.

Some of the UK directories I know of are:

Open Comedy – Focused entirely on stand-up comedy, and not just for open mic nights. Worth signing up if you’re interested in getting involved in the business.

Open Mic Finder – Covers all types of open mic nights, but seems to lean more towards music than comedy.

Spotlz – Seems to be some kind of spot booking service, one or two London nights use it but there’s not a lot of information on the site and it doesn’t seem to be very popular.

Open Comedy is the best of the bunch as far as I can tell, but your mileage may vary.

Gig 50 at the Cavendish Arms

At Battersea Power Comedy last week. Despite appearances, I am not actually punching myself in the face, just gently stroking my beard.

I hit a small milestone this week,  my fiftieth open mic spot, a little over a year since I did my first one. I’d hoped to get closer to 100 by now, but real life gets in the way so I just can’t do as many gigs as I’d like and I’m resigned to the fact that I’m only going to be able to do one spot most weeks.

I was glad to be marking the occasion at Comedy Virgins at the Cavendish Arms, because I’ve had a lot of good nights there since I got started. Last night was no exception, the room was full (thanks in part to Mouch bringing half the audience with him) and almost every act was on form, nobody bombed terribly.

I got called up at the end of the night as the penultimate act. Under normal circumstances the energy would be flagging by this point, especially since Comedy Virgins tends to be a long night, but the room was still buzzing close to the finish line.

The act before me was an Italian guy who had his moments, but he tried to do some crowdwork with me* which just ended up being awkward and went on too long, and he did a couple of slightly  racist bits about gypsies which made the audience uncomfortable.

As it happens, I’ve recently discovered that my dad was of Irish Traveler heritage, and since I was on right after this guy I really felt like I should try to do something with this. So I dropped my planned opener and improvised some stuff about me being a gypsy, and while it wasn’t particularly funny I think the crowd enjoyed the serendipity and the fact that I addressed the issue, and I got a small cheer for my effort.

Last week I promised myself I wasn’t going to use a set list, but I wimped out at the last minute and scribbled just a few words on my hand to remind me of the structure of the middle bit of my set. I didn’t have to look at it much and once I got into my stride I felt a lot more comfortable than I have at recent gigs, and that made my delivery feel more natural too. The audience seemed to go along with me and I got some decent laughs all the way through.

The only problem was that because I improvised my opener my timing was all over the place and I got the one minute warning much sooner than I expected, so instead of wrapping it up with my usual closer I finished on a bit that usually goes in the middle. It’s a perfectly serviceable bit but the premise is better than the punchline, so it’s not strong enough to end a set on.

All the same, I was happy with how well it all went and I left the stage feeling like I’d done a decent job. I really need to ween myself back off hand-notes again though – I think the trick is to use progressively fewer and fewer words each gig until you don’t need anything at all.

I’m on holiday again next week, and then I’ve got spot back at Battersea Power Comedy  on the 6th of September.

 

*Tip for newbies, if you’re going to do crowdwork don’t pick on other comedians, because they’ll just try to be smartarses and derail your set.

7 Minutes at Battersea Power Comedy

I didn’t gig last week because I was in Nice with my trotters up, but this week I had a spot at Battersea Power Comedy. My bringer was Pauline Stobbs, another act I made friends with a year ago when we got started together. She’s currently spending some time in Australia, but was back visiting the UK for a couple of weeks so it was a good opportunity to catch up.

A few of the registered acts dropped out, but it was still a decent night because one guy brought a load of friends and a couple of people wandered in from the bar, so there was a reasonable audience. The night was a mixed bag of experience levels, a few very new acts and a few more polished guys – some of the people who stood out for me were Michael Eldridge, Kazeem Jamal Faturoti-Edwards, and Daniel Mahony.

At the moment I’ve got a good chunk of material (probably close to 10 minutes) loosely around the same theme of being a dad, and before every gig I decide which bits I’m going to use to make up five minutes, usually starting with the same opener and closer but mixing up the middle. Since there were a few dropouts the MC, Zach Dills, wasn’t being too strict with the time-keeping, so instead of sticking to the five minutes worth of bits I’d scribbled into a set-list on the back of my hand, I did as much of the stuff as I could remember. 

I think it ran to about seven minutes and it mostly seemed to go well, although I tried the riskier of my two openers which only seems to work about half of the time, and this was not one of those times. I rearranged my closer a little, because I’ve noticed that part of the story often gets a bigger laugh than the main punchline, and I want it to end on the biggest laugh. It worked well enough, but I should probably try properly rewriting it so that it hangs together a bit better. 

Because there were a few dropouts and the lineup was looking more sausagey than the Chariots Sauna Summer BBQ, Zach offered Pauline a spot. Considering she only had a few minutes notice and hadn’t gigged for over six weeks, she did a solid job of delivering some of her best material from memory. 

This made me realise what a bell-end I am for always relying on a set-list on the back of my hand – sure my brain is old and fucked, but I’ve got enough well-worn material now that I should be able to fill five minutes without needing notes. 

I’m challenging myself not to use notes from now on unless I’m trying out a completely new set. This starts next Wednesday, when I’m on at the Cavendish for my 50th spot.

In other news, I’m going to San Francisco with work for a week in September and I’ll have most of the evenings free, so I’m currently researching open-mic nights in the city with the plan of trying to do as many as I can while I’m there. 

Gig Count: 49

Sometimes the good nights take you by surprise

I had a great night at Battersea Power Comedy last week, against all the odds. It was the hottest day of the year so far, so I was expecting the mood and the turnout to be low, but as it happened there were no dropouts so we had a room full of acts and bringers, and plenty of energy.

I was glad to see a couple of my favourite acts in the bar beforehand – Thea Downey and Hubert Mayr – and a few other faces I recognise showed up too, Sam Dutton, Micah Hall and Ginnia Cheng. I enjoy doing this stuff all the same, but it’s more fun when you start getting to know the other acts and regularly bump into people you like, it really builds a sense of camaraderie.

I went up fourth – I chose a spot close to the beginning because it gave me just enough time to ease into the night, but not so long that I got distracted by the other acts and forgot my material. Another problem I have with going on later in the show is that it gives me too much time to start second guessing myself and mentally reworking my routine, instead of sticking to the plan I prepared and practiced. I like to get it out of the way early on and then enjoy the other acts.

I tried out a mix of old stuff, new versions of old stuff, and completely new stuff, and it all worked pretty well – even with an audience member dropping and breaking a glass halfway through my set I still managed to keep the room on side. I felt pretty good about it all after I got off stage. Most of the other acts did really well too, and hanging out in the bar afterwards there was a really good atmosphere. One of those good nights that took everybody by surprise.

Listening back to the recording I really notice how much I waffle in some of my bits when I could get to the punchline a lot quicker. That said, I’ve tried doing this before and sometimes the bit just doesn’t seem to work as well, even though all of the key elements are still there. Maybe the waffle is all part of the style and storytelling? All the same, I still think I need to find a way of being more economical with words without breaking the material.

There’s not much happening this month because I’m away quite a bit in August. The next gig I’ve got is back at Battersea Power on the 16th, followed by the Cavendish on the 22nd.

Gig Count: 48