The most popular comedy shows in London

Even by the fairly vague naming conventions of stand up comedy shows, it’s hard to imagine what sardonic Anglo-Russian Olga Koch’s new show Fat Tom Cruise will be about. Apparently it revolves around a story Koch has to tell. And furthermore, it’s a genre-defying show with immersive elements. In the world of solo stand-up shows this could mean everything or nothing, but Koch is an undoubtable pro and if she’s stretching her wings a bit formally then so much the better.

Ultimate millennial wit Amstell returns to live action with a storytelling based show that revolves around his achieving a measure of contentedness in middle age and how a chance encounter with a former pop star crush at an LA party threatened to jeapordise that. If the word ‘storytelling’ sounds like a red flag meaning ‘no jokes’ then fear not: reviews of I Love It Here’s initial London run suggest that despite its thematic coherency, it’s basically business as usual for the self-lacerating introvert.

Fancy yourself a bit of a comedian? Ever wanted to go on a game show? Now is your chance. The Audience Vs is a brand-new live comedy gaming show, where audience members go head to head with real-life celebs. Hosted by Glenn Moore, created by journalist Simon Parkin and produced by Taskmaster honchos Avalon, the game will see punters battle comedians in retro video games, including Mario Kart, Street Fighter and Grand Theft Auto. Previous guests include Phil Wang, Sarah Keyworth, Ellie Gibson, and Sooz Kempner, with upcoming guests including Frankie Ward, Iain Stirling, Jamali Maddix and John Robertson. 

The longest London run to date for Sam Morrison’s stand-up show about the death of his partner – you’d call that a somewhat paradoxical notion, but this is a fertile era for comedy out of misery (call it the Baby Reindeer Effect). Tracing his relationship with Jonathan from beginning to end, it’s not so much an attempt to rationalise his death as a poignant (and hilarious) attempt to respond to it somehow.

Andrew Doherty’s idiosyncratic folk horror comedy Gay Witch Sex Cult was one of the most arresting stand up debuts at last year’s Fringe. And its follow up Sad Gay AIDS Play is a lot of fun. But it also sails into tropier waters than its predecessor, and though hardly a run of the mill stand up show, it does feel like it’s treading on some pretty well worn ground. Doherty again plays a preeningly precious and self-regarding version of himself, now attempting to write a follow up to last year’s hit. Unfortunately his wealthy parents are refusing to bankroll him this time, so he’s turned to the Arts Council England, who have no interest in the creepy Six-esque musical he wants to write. But upon hearing he’s gay, ACE suggests in the strongest possible terms that he write a play about AIDS. Doherty goes about all this very amusingly, and his secret weapon is his own stage persona. Weasley, brittle and self justifying, making art for all the wrong reasons, secure in the knowledge that mummy and daddy’s money will bail him out if things go south - it’s depressingly but hilariously acute satire. But a bad taste play about AIDS? In 2025? Really? Team America’s ‘Everyone Has AIDS’ was 21 years ago and it’s decades on from the flowering of the great AIDS related dramas. It’s an absurdly anachronistic provocation – a handful of off-colour jokes about The Troubles feel edgier. Likewise the bit where he throws in a scene about a simple working class lad from Newcastle because ACE...

The old adage ‘everything good comes to London anyway’ (is this an adage? it should be) once again holds true as the winner of the main Best Show comedy award at the 2025 Edinburgh Fringe transfers to Soho Theatre in very short order. Trans comic Sam Nicoresti had sort of hovered on the fringes of the Fringe in previous years with shows too weird or not quite finished enough to click with a wider audience. But the pointedly more mainstream Baby Doomer did the trick perfectly, an eccentric but accessible meditation on the trans experience, groaning with actual jokes.

Thanks to the ongoing cult behemoth that is Taskmaster, its host Greg Davies finds his stand up career hitting new highs, with a month of shows at the Apollo for his new show Full Fat Legend to be followed in December with his debut at the O2 – his biggest show to date. Despite the immodest name, the new show is, in essence, an autobiographical exploration of what an idiot he is. 

You’ll have a job getting into any of James Acaster’s bewildering multitude of London solo shows this March, although if you’re a fan of the subversive comedy superstar – and who isn’t – then by all means sign up for a waiting list, and it looks like his Hackney Empire shows (technically in April) aren’t entirely sold out at time of writing. These dates are, apparently, a basically finished new show, just it dosn’t have a name, with the only description the delightfully flip ‘a brand new show, full of everything you love about James Acaster and more!’. But you can also catch him at the head of a frankly sensational bill at a charity gig for The Bike Project earlier in the month at the Union Chapel. At time of writing it’s not sold out and as well as Acaster you get Sophie Duker, Janine Harouni, Catherine Bohart, Olga Koch and Jack Barry on the bill.

Jordan Gray’s last show Is It a Bird? – an ebulliant set that featured highly original musings on both superheroes and being transgender – propelled the comic’s star to new hights. Inevitably it also aroused the ire of the not inconsiderable number of people in this country who dislike trans people. Amusingly dissecting the backlash to Is It a Bird? it also includes cowboys and songs.

This review is from the 2025 Edinburgh Festival Fringe. In this sweet debut Fringe hour,  Lewisham-born-and-bred stand up Toussaint Douglass threatens us with 55 minutes of jokes about pigeons.  As a stickler for high-concept shows, I was a little disappointed to discover this was a colossal overstatement: there’s maybe 15 minutes on the ubiquitous winged rats. But they’re 15 good minutes, not least the show’s brilliantly chaotic cold open where Douglass makes one audience member drive a stuffed pigeon strapped to a remote control car around the room while others are made to try and feed it bread. For the most part Accessible Pigeon Material is a show about Douglass and his family, though he has a pleasingly idiosyncratic way of approaching what might otherwise be fairly humdrum material. There’s some great gags about Lewisham and some charming stuff about living with his ‘87-year-old flatmate’ (ie his nan, for whom pigeons were emblematic of the UK when she arrived with the Windrush generation). Best of all is a sequence where he roleplays his geezerish father while an audience member is forced to play the part of a younger Douglass trying to get his pathologically undemonstrative old man to say ‘I love you’. That this last gag isn’t pursued with quite the self lacerating viciousness it could be is indicative of the fact that Douglass basically seems like a really nice guy, making a show about the things that interest him (which includes pigeons). Perhaps he’d benefit...