I was back to Soho Theatre for a double-header. Sometimes I find it frustrating to spend four hours door to door to see an hour long show, so the offer of a 7:30 and a 9:15 show was a nice and efficient evening out.

I’m a huge fan of Soho Theatre. It’s amongst my most attended venues (over 50 times in the past 8 years including the covid era) - conveniently located, with excellent programming. They seem to put on most of the significant Fringe shows, and in my five visits to Edinburgh, I only ever caught the award winning show (Ahir Shah’s Ends) there once, but thanks to ST, I’ve seen every winning show for a number of years, plus a lot of highly rated ones that slipped through my net (it’s quite the task to sift through 3000+ shows and identify the most acclaimed).

Olga Koch

First up was Olga Koch. I’d seen her Edinburgh show (Prawn Cocktail) last time I was there in 2023, and it was a decent show of conventional format. She’d also hosted the comedy gala at a convention I was at last year, and similarly, it was entertaining. It was certainly good enough to entice me down to Soho on a free evening. My companion took a punt, having not heard of her, and when she asked me what to expect as we were waiting for the proverbial curtain to rise, I said she’s Russian heritage (her dad briefly served as Deputy Prime Minister in the chaotic early post Soviet days during her youth), British citizen, internationally educated, with quite raunchy (sex positive) content. And almost immediately, those subjects came to the fore. To my surprise though, rather than being central to the narrative like they were in her previous show, and her polished 20 from the convention, she breezed through them quickly.

I initially assumed this was her 2025 Fringe show, as many are still touring (they take it on the road post-Edinburgh (August), normally concluding around spring so they can write, workshop and prepare their next show in time), however I later learned this was her 2026 show, produced by a programmer from Soho Theatre, and this was perhaps only the second ever performance of it.

As a budding comic myself, I feel a screen is a crucial element to my style and format, and whilst it seems their use is on the rise, comics historically have shunned them for a more conventional and staid one-person-and-a-microphone performance. Not Olga! She had two pillars and a platform, all drenched in white, and a white floored arena. Projections were put on the objects with regularity, perfectly complementing, emphasising or enhancing her material. She covered most inches of the floor through the show, in a performance that wasn’t overly physical, but far from stagnant.

The crafting of an Edinburgh hour, as I call them - the classic Fringe show - is something that always fascinates me. Shows aren’t mandated to be an hour, and some performances, especially theatre, can be longer, but stand-up shows are typically an hour long. The comic progresses from 5 minute long entry level sets to 7 and 10s, then 20s as they establish themselves. These sets can be anchored by a few anecdotes stitched together with clever segues, but when it comes to forming a full hour, it needs a strong narrative to weave the entire story together.

Something I’ve also been trying to decipher is the role of a director. In the afore-mentioned style of just talking for an hour, the director does have some work to hone and tune the finished product. With Olga’s show, however, she was darting all over the place. The sound and lighting needed clinical precision, but the movement and expression here were significantly greater than usual, and added a huge new dimension.

Her first Fringe show was a decade ago so she’s certainly accomplished and experienced, but this show was still surprising to me, in that it was sensational. There was nothing wrong with her previous show, but this one was exceptional. Particular credit goes to her for mastery of the art of callbacks. There were multiple examples through the show where a callback to an earlier point came out of the blue in a comical way. As mentioned before, the incorporation of AV for this was incredible too.

But as with all shows of this length, it needs a narrative - a central focus to tie it all together. A few years ago, a director told me the 42 minute mark is the classic point where the narrative takes an emotional turn. Gone are the wisecracks and laughs, it gives way to the pivotal moment where the story hits intensity before giving way to the resolution and wrap-up. Since then, I’ve noticed that EVERY* (most?) shows follow this formula. It was something I’d noted in the cadence of shows before, but after being informed of it, I realised that you could set your watch by it. Doing it at the end is an alternative approach. Occasionally used, if that’s the way the story demands. Her central tale’s dramatic and tragic crescendo came towards the very end, and gave way to heartfelt reflection. It was emotional and insightful, although 40% of my brain power at this point was being consumed by my own personal battle - of bladder control. I can sit still for an hour, or I can drink. The two are mutually exclusive. I nursed my bottle, but even then my capacity was approximately 61.5 minutes.

I recently began playing around with spirits and syrups under the name Alf’s Tipsy Toucan Tavern

I’ve not seen much comedy of this format lately, but over the years I’ve seen countless ones at the Fringe, at Soho Theatre and various other venues. This was particularly great, a highlight and certainly one of a select few that I would put in the 9+ out of 10 category. I expect accolades and glowing reviews for it. Whilst proficiency in the Fringe scene is disparate to mainstream appeal (the arena comics who are near household names), she also has material to thrive in those circles, having appeared on Live at the Apollo in 2023 https://www.bbc.co.uk/programmes/m001t5rf and has a solid set that would work well with casual comedy fans.

I see her getting more recognition soon, deservedly so, but I hope it’s not to the detriment of this style of show. Is it possible to straddle both worlds effectively?

Interval

A solid 45 minute gap between the two shows allowed time to digest and dissect the show, fill our glasses and prepare for the next show. I’ve always felt a level of warmth and belonging at Soho Theatre and I often recognise a familiar face in the bar or acquaint myself with strangers. It does have a tendency to get quite packed before shows begin, but as long as there’s enough place to navigate through and some free standing space, it’s a pleasant environment with decent folk.

Show 2

The second was in the basement, with cabaret seating. This was a total punt for me - I’d seen the listing and someone had endorsed it, so I figured why not? I was out, and it was convenient!

I took my typical approach to something new to me - I limited my research so that everything about it would be fresh. Not even the blurb. I was asked what it was by my friend, and I couldn’t answer much more than ‘a couple of comics, maybe some sort of sketch style 🤷‍♂️?’

This time it was a 2025 Fringe show. I shunned reviews - I find scores far too subjective, and they reveal too much about a story I want to see unravel on stage. I did check reviews after, and they were a solid mix of 4 and 5*.

Siblings - Dreamweaver

The show was effectively a protracted sketch about two scientists in lab coats working on a dream reading helmet. On occasion, they would put it on different audience members’ heads to get readings. The perils of sitting in the front! Some people are a little shy of audience interaction but this was quite passive. When the story required a test subject, they’d place it on their head and play back a pre-recorded hearing. They did inch further down the central aisle over the course of the show, but being at the back, I expected we were well out of their zone. A girl from our table who was sat on the edge of the aisle was chosen, and it felt quite cool to be adjacent to the prop, a colander with christmas lights.

The drinks had been flowing by this point and I had certainly achieved a degree of tipsiness so when I was selected to be the next helmet wearer, I accepted the challenge with glee. It would be funny to sit there whilst they ‘read’ my dreamwaves. Except that’s not what my role was! I’d been selected (and not for the first time!) to jump up on the stage at Soho Theatre and perform! The memory is a bit hazy, but I was part of a 3-member boy band, me in the centre with the helmet on and the two performers flanking me. Firstly there was a dance - not my forté (especially when I don’t know the moves) but somehow I managed to either follow or complement their actions with aplomb. The song was about one boob, and I was able to masterfully combine my two moobs into one. Then came the worrying part - they each performed a solo, and I knew my time was coming. Miraculously, I managed to freestyle a short verse that rhymed and was on theme, to whoops from the audience. My friend did capture it, but without a mic, it’s inaudible from the back.

I honestly surprised myself that with a fuzzy mind I was able to not only not make an absolute prat of myself, but pull off what may eventually be voted THE audience participation of the century. As I returned to my seat after the 3 minute segment, it was shocking how different the room is from both perspectives. On stage you’re drowned with light, elevated, with all eyes on you - those you can see, and dark faces from beyond the glow. At the back of the room, in the dark, facing the stage, you’re an anonymous, passive presence. As I took my seat, my friend asked me if that was planned - it seemed like an endorsement of how well it flowed. Of course it wasn’t, I was totally blindsided by it, and I was just grateful my supposed wit didn’t desert me when challenged. I was hoping the official photographer may have captured my moment, however my friend said she’d managed to video the whole thing. Kudos to her for the quick thinking so my little cameo was preserved for posterity and not lost to the ages.

That part was probably the climax of the show (I could be biased here), and the story concluded. I was still quite bewildered at my segment.

The show overall was entertaining. A bit wacky, but well put together, with a series of laughs and a fun story. Interestingly, whilst I felt Olga’s show was the highlight, my friend enjoyed Siblings so much that she was inspired by their style. Just shows how subjective art is - and how a show can be great but not for the wrong person. It’s all about exploring your niche and finding your audience.

We stayed in the bar after - as there were no further shows on after ours, it was only half full, so more comfort and we must’ve got carried away because soon enough it was time for the last train! As we left the venue, some people on the inside banged on the window and waved ferociously - I waved back to my fans with a warm feeling of recognition and reverence. It will be a long time before I’m recognised for my art again.

I stumbled home by 1am. 7 hours door to door, 2 shows and some drinks. As I lay in bed, I decided to google the act. Turns out they’re actual siblings, but even more surprisingly, they’re the daughters of legendary comic and TV personality Ruby Wax, which explains why she was in the bar after the show. Perhaps one day on a sofa in some TV studio, she’ll be telling the host how she was in the audience for my breakout role.

West Philly shoegaze band They Are Gutting a Body of Water arrived in the UK to tour their well-received album Lotto

After sharing some bands I like with a colleague, he mentioned them, and I liked their sound. Luckily, a gig was imminent, and conveniently timed for me, so I booked it on the strength of a promising first listen. I did something I haven’t done in a long time, but wish I did more often - experience the band live rather than go into the gig with an encyclopaedic knowledge of their back catalogue. It’s a double-edged approach - sometimes elements of their sound and songs reveal themselves beautifully on stage, but you may also lose the impact of a deep cut if you’re not too familiar with their output. I chose wisely in this instance, I think.

Venue

The venue was the ICA - Institute for Contemporary Arts, in the King’s front yard (The Mall). I’d been to the venue once before for the inaugural Four Tet/Squidsoup collaboration in 2016, although the one gig I wish I had been at was the 1984 performance by German industrial group Einstürzende Neubauten who started drilling and jackhammering through the stage mid-performance!

Journey

My first dilemma was getting there. I had driven to the office in Chelsea, and whilst there was a straight bus, I thought it would be nice to drive directly home after. I set my directions to Waterloo, with another map showing walking distance to the ICA so if I passed a convenient spot en route, I could stop there. I normally always travel in by public unless I’m working (and flitting between various sites and offices with an inordinate amount of equipment) and this reinforced why. Eventually I found a spot on a side street beyond the IMAX and a solid 25 minute walk! Fortunately I had enough of a time buffer to pull off my classic ‘Justin’ (just-in-time).

The Stage Set-up

The band were playing in the round, and it was quite intimate - perhaps a couple of hundred people and despite arriving once the venue was packed (sold out), I found a few good spots. I like the concept of the round. More people feel connected, but if you’re committed to one spot, you do lose some effect by only seeing the side or back of one or two members

Gig gripe #4: In a tightly packed space, don’t bring your bag! and certainly don’t wear the damn rucksack throughout the gig!! Cloakrooms exist and for the sake of our comfort, use them!

Gig gripe #1: You’ve got a good spot and are absorbed in the music. Someone squiggles their way in front of you, with a bag, talks, and sways. We don’t need to hear your inane chatter throughout, and pick a spot so that you don’t compromise the view of several people behind you. Fortunately few were talking during this gig, perhaps mesmerised by the music, or with it being a niche band, seasoned gig-goers committed to indulging themselves in the spectacle and saving the chat for the bar after.

The performance

I was digging the band’s sound. To me, it was most reminiscent of Slint’s seminal Spiderland. The lead Douglas Dulgarian would occasionally say a word or two between songs. He referenced his guitar being out of tune and how that is quite on point for shoegaze. In those situations, it’s not uncommon for someone in the crowd to holler back something, although I refrain unless I have something undeniably witty worthy of sharing.

The stage was slightly elevated, and whilst I wasn’t looking over a sea of heads (more of a puddle), I felt like what I was hearing was coming from more than 4 musicians, especially as one guitarist was playing percussion when I was trying to distinguish who was contributing what to the overall noise.

I’m always wowed by the proficiency of such groups. They choose a niche and work away at it, but even with the greatest acclaim from critics and fans alike, their target audience is quite small. So it’s nice to see that they got a level of recognition last night - an attentive crowd, a great setting and a sold-out gig.

The band played for an hour, captivating the crowd throughout. Whilst this is their 4th album, the first was self-released, and this is perhaps the first one they’ve got wider recognition for. They played the George Tavern last summer (first UK gig) and have a few dates across the UK and Europe on this tour, but this certainly would’ve been a highlight for them given the venue’s prestige. Initially there was only one night planned, but as that sold out, another date appeared, which eventually sold out on the day.

Something my mind wanders to inevitably at every show is the total revenue and how much the band get. Touring costs are considerable when abroad, and they only get to tour so often (plus it must be EXHAUSTING mentally and physically to travel that much and play so often!). We’ve reached a point, especially with the effects of Brexit, where it’s no longer economical to tour for some acts in some places, although overall exposure, fan connection and merch may help justify putting a show on.

A cheat I often use is to check setlistfm for a recent gig to second guess the setlist for that night. Some bands slavishly stick to the same set in the same order, or with minor variations. Two schools of thought - a few friends prefer the suspense and surprise. I often prefer to be informed and prepared. It does amaze me that dedicated people recognise and archive the tracks for posterity, and I’m glad there’s one unified database (although the 1600+ cookie partners does annoy me), however I’ve never seen anyone in a crowd note down tracks. A group that gets heavily criticised is those that use their phone too much. Normally I agree, especially those who illuminate their phone torch during the video, having no effect on the professionally lit stage 40 feet away but bathing those around them in light (gig gripe #6), but I do love those who archive live rock by recording and uploading full tracks for us all to enjoy, whether we were there or not.

For part of the gig, I was stood in front of the sound desk, and at one point a kid walked over to them and asked them to turn the singer’s mic up! Whilst it was barely audible, that’s a deliberate effect. This has got to be the live music equivalent of asking a techno DJ to spin an old ABBA classic during their set.

Merch

As the band said their goodbyes, I scurried off to the cloakroom queue, smug with my quick escape to beat the queue. But as I exited, I noticed the new album was on the merch table, and only £20. Just like every release these days, there’s an insufferable number of variants, often limited and overpriced. Six in this album’s case. It’s what killed a 30 year hobby for me. However this version was adequate for my needs so I joined the long and slow-moving queue to grab one. Smugness duly wiped

Post gig

I took the scenic route back to my car, checking the bus options to Chelsea to confirm if I had made the right choice or not. There was a long wait for a bus, so in this instance it was approximately the same. I played the album on the walk to the car, and with it only being 27 minutes long, I breezed through the whole thing before getting back to it (with inevitable detours via the shops etc). The only benefit of driving was that I was committed to sobriety. It meant that my night out came in at under £50 for ticket, cloakroom and the LP, and I didn’t end up with a sore head or full bladder. I saw a few guys return from the bar with two beers in hand - that’s about £13-15 for you and your mate, and you’ll be doing that 2-3 times each at least over the course of the night.

It was the first gig of the year for me. It used to be my most attended type of event, but here we are 1/8th of the year in and I’m just getting off the mark. It’s another 3 months until my next one, but I’ll be keeping myself busy with other bookings.