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Data-driven insights and emerging patterns in the comedy world, including shifts in performance formats, booking demand, city-level growth, and how the industry is evolving.
Twenty-two names in the smaller type: how comedy festivals pay support acts On Saturday 3 October, Ed Gamble headlines a warehouse complex in Peckham. Three…
On 13 May 2025, Mark Davyd of Music Venue Trust sat in front of the Culture, Media and Sport Committee. He did the sum out…
Josephine Lacey plays Autism Mama for the last time on 20 September at the Top Secret Comedy Club in London. She is paying for the…
Fourteen tours opened in one week and Chortle listed 6,112 events On Sunday 6 September, Daniel Kitson opened a tour called Thrum at the Junction…
The Keep it Fringe fund paid 180 Edinburgh artists £2,500 each in 2025, a total of £450,000. The Department for Culture, Media and Sport put…
A free show with a price on it Buried in the Edinburgh Festival Fringe’s guidance to artists this year is a sample listing for a…
Ten quid to be a booker “I think a licence would be good and just make sure it’s very accessible, like maybe 10 quid to…
Seventeen per cent of them made nothing at all Seventeen per cent of the comedians who filled in the UK Live Comedy Sector Survey earned…
The comedy world’s biggest misconception is that nobody wants to laugh at midnight. Wrong. Late-night comedy shows are quietly becoming the highest-revenue time slots on…
Stand-up used to be simple. You stand. You talk. People laugh. That was the job. That’s not what’s happening anymore. The comedians killing it right…
