Some comics do political stuff, some are observational. Some trade in silly puns, some are surreal improvisers. Some are musical comics, some perform as characters. The superlative Rich Hall is all of this, and more.

His character, jailbird blues singer Otis Lee Crenshaw is barely removed from gravel-voiced Hall's usual on-stage persona, a shrewd decision when your act is as strong as his. And the banter between songs is faultlessly brilliant. There's almost an embarrassment of riches as each pin-sharp line hits its target with the accuracy of a sniper's bullet. With every throwaway sentence, Hall underlines his undoubted comic genius.

Oddly, though, it's the songs which are not so consistently strong. For while there are some that demonstrate the same touch of brilliance as the stand-up routines, others serve only to slow the comedy pace. So while a fantastic ditty on stalking keeps piling on the laughs, an ill-conceived tale of Arthur's Seat playing the Edinburgh festival is distinctly weak.

However, Hall's relentless stream of spot-on twisted humour maintains the momentum and guarantees a hugely enjoyable night out