New study identifies problems on the circuit

The Scottish comedy scene has a ‘missing middle’ – with performers finding it difficult to progress from open-mic act to becoming a professional stand-up, new research has found.

Almost a quarter of those surveyed described an insurmountable barrier to paid work, with some complaining that new-act spots often go to established acts trying new material rather than to genuine rookies. Bookers are also said to be reluctant to take a risk on someone unproven.

Sixty per cent of those working in comedy named financial sustainability as a core struggle, citing travel costs and full-time jobs that leave people too tired to write.

Of the 77 people who responded to the study run by Brass Tacks Comedy with funding from the Scottish Government, 70 were comedians, with the rest having other industry roles. Just over 60 per cent said they were from a working-class background, 38 per cent said they were neurodivergent, 31 per cent LGBTQIA+, 19 per cent disabled and just three per cent a person of colour. 

The study’s authors said: ‘Money and the missing middle describe a hidden, class-gated career ladder. People with financial cushion can absorb years of unpaid travel and Edinburgh Fringe costs; people without cannot. As one put it, comedy risks becoming a scene that only "holds a mirror up to a lucky few".’

While many of the issues will be familiar to comedians across the UK, some were specific to Scotland. 

Thirteen people said they felt comedians can rise in Scotland only so far, and then the route runs out. Above club level there is little touring infrastructure, little route into TV or radio, and a widely shared belief that "real" success means moving to London.

One respondent said: ‘At some point, you must move to London. That’s supposedly where real success happens. But from where I’m standing on the ladder, that pathway is completely invisible because the infrastructure for that level of success fundamentally does not exist in Scotland. At a certain point, the ladder just disappears.’

The authors were keen to stress that the survey was not just a ‘list of complaints’, saying: ‘Almost everyone started from real affection for the scene, and several went out of their way to say so.’

‘The level of talent and hard work is insanely good,’ one person wrote. Open mics are plentiful, especially in the central belt from Glasgow to Edinburgh, so new acts can find stage time. People described acts looking out for each other, and one stated Scotland ‘is generally ahead of England in terms of support of acts’.

‘For beginners there are plenty of open mic nights, some openly supporting diversity,’ one respondent said. ‘And even the ones [that] don’t, feel like very safe spaces. Fellow comedians are very supportive, it’s not competitive, everyone feels welcome.’

Those who have been around for a decade or more said the scene has changed for the better: ‘Gender representation has exploded. More diverse than it used to be, less sexist, more good gigs.’

When asked what people struggle with most, the top five answers were:

• Access to industry contacts and networks: 66 per cent
• Getting gigs and approaching bookers: 65 per cent
• Self-promotion and social media: 61 per cent
• Financial sustainability and income: 60 per cent
• Understanding how the industry works: 56 per cent

The report suggested more mentoring and more arts funding were the things most needed to address the issues.

The Scottish Comedy Sector Overview, conducted in June and July, was part of an industry development project funded by Creative Scotland, which is in turn funded by Holyrood and the National Lottery. The full report is here.

Published: 17 Sep 2026