August in Edinburgh. The streets littered with flyers. The pleading eyes of a man who needs to sell tickets. Tourists e v e r y w h e r e.
Love it or hate it, every summer the Scottish capital plays host to the biggest arts festival in the world – the Fringe. Among the many acts hoping to find their big break, stand-up comedy looms the largest. From pub back rooms to dingy attics, anything in Edinburgh becomes a venue for jokes in August. Comedians flock from across the world for the honour of an hour slot in a stuffy basement.
But what about the rest of the year?
Tommy Sheppard started the Stand in Edinburgh in 1995, and in 1998 it became the first dedicated comedy club in Scotland. “We wanted to make a permanent platform in Scotland for comedians. That was our motivation,” Tommy says.
As the industry has grown, there is a surplus of quality Scottish comedians: “We still try to make a priority of showcasing emerging Scottish talent.”
Red Raw, a comedy night for newcomers, is just one of the initiatives the Stand do to help comedians hone their craft. Kevin Bridges, one of Scotland’s most famous figures, did his first gig at a Red Raw night.
“Part of what we’ve done is create the base for other clubs in the city,” Tommy says.
One of these newer comedy clubs is Monkey Barrel Comedy, which opened in 2017.
Undeniably the biggest powerhouse of the Fringe, hosting the last three winners of the prestigious Edinburgh Comedy Awards, Monkey Barrel says the Scottish capital should be regarded as a year-round comedy destination.
Ross Foley, the head of marketing at Monkey Barrel, who previously dabbled in stand-up himself, describes the Scottish comedy scene as “really vibrant right now”.
“10 years ago the scene was good but nowhere near as strong as it is now. In terms of local acts who have broken through, it’s phenomenal,” Ross adds. “Obviously, I’m biased, but part of that is because they’ve got places like Monkey Barrel to play regularly.”
As tourism grows, audiences throughout the year are changing. It’s not locals filling out the chairs; it’s the tourists.
Ross acknowledges that crowds during the Fringe and the rest of the year are “different” but insists, “There is still a consistent comedy audience in Edinburgh year-round.”
Monkey Barrel puts on shows from comedians across the world whilst hosting open mic nights and variety shows for up-and-coming comedians. Ross says giving Edinburgh-based acts the opportunities to perform and develop as comics is a core value of the comedy club.
We did a lot to platform local acts, who draw inspiration from living in Edinburgh
The dominance of English voices at the Fringe can plague the festival. From the acts to the audience, it’s commonplace to hear the phrase “I’m from London” during a show.
Tommy Sheppard says, “One thing that infuriated people when we started was the people from London coming up, taking the money, then leaving nothing behind but some tatty posters.”
“In the beginning we did a lot to platform local acts, who draw inspiration from living in Edinburgh,” Tommy adds.
A lack of Scottish voices in Edinburgh is a criticism that didn’t begin or end in the comedy clubs in the city, but Ross Foley also agrees that “more has to be done in terms of accessibility for Scottish acts.”
“There’s a lot more diversity in the Scottish comedy scene than when I started,” Ross adds. “There could be more still, but I think we’re moving in a positive direction.”
Eleanor Morton, a Scottish comedian and writer who moved back to Edinburgh two years ago after living in London, agrees that Edinburgh is a great city to live in for comedy.
“It’s a well-connected, creative city that has plenty going on outside of the Fringe,” she says. “As I prefer somewhere a bit smaller and more intimate, it feels like a good fit.”
Eleanor says comedians and comedy clubs are each other’s bread and butter. She believes for a small city, Edinburgh is a supportive place for local talent. “I feel like it’s been a welcoming, encouraging scene.”
“I also think we’re seeing a wider range of Scottish voices in terms of race, gender, class and background, which is a huge leap from when I started 15 years ago,” Eleanor adds.
Eleanor says that the Fringe tends to attract more hardcore comedy fans, whilst performing in Edinburgh the rest of the year, the audience is more likely to be ‘casual’ crowds, tourists and locals.
“But that’s the same everywhere – the Fringe tends to be the place to experiment and explore the artistic side of comedy,” Eleanor concludes.
Tommy Sheppard says, “There are enough stages in Edinburgh for anyone to work their craft. As there are now more clubs in the north of England, you can base yourself in Edinburgh and travel around.”
Amidst rocketing rents and tough competition for slots on stage, there is certainly no home advantage for an Edinburgh comedian at the Fringe. But even outside of August, Edinburgh is setting itself out as one of the best comedy cities in the UK.
