Glasgow Crowned Second Funniest City in the UK

Comedy in Your Eye
Apr 23
11 min read

Updated: Apr 25

Glasgow Crowned Second Funniest City in the UK

Glasgow has recently been recognised as the second funniest city in the UK, following Liverpool, which took the top spot in a new study. The research, conducted by USDT Casino, analysed over 10,000 public comments and reviews to determine where laughter is most prevalent across the nation.

Key Takeaways

Glasgow ranks second in the UK for humour appreciation, with 34% of reviews mentioning humour-related terms.
Liverpool is the funniest city, with nearly 40% of reviews featuring laughter-related phrases.
Other cities in the top five include Manchester, Birmingham, and Bristol.
The study also highlighted the most beloved comedians in Britain based on public reviews.

How UK Cities Ranked for Laughs

The results of the USDT Casino analysis placed Liverpool firmly at the top of the laughter league, with an impressive 39% of reviews originating from the city featuring outright laughter-related phrases. This figure led the study's spokesperson to declare Liverpool the "unofficial capital of comedy appreciation" in the UK.

Glasgow followed closely, securing the second spot with 34% of its reviews containing humour-related terms – a testament, the report suggests, to the city's "vibrant comedy scene and the enthusiasm of its residents for comedic performances". Completing the top five were Manchester (31%), Birmingham (27%), and Bristol (25%), showcasing a strong showing for major urban centres outside the capital.

Table 1: Top 5 Funniest UK Cities (USDT Casino Study)

Rank	City	% Reviews with Humour/Laughter Terms
1	Liverpool	39%
2	Glasgow	34%
3	Manchester	31%
4	Birmingham	27%
5	Bristol	25%

Source: USDT Casino study analysis of >10,000 online reviews/comments

A notable pattern emerged from the data: a distinct "northern bias", with the top three cities – Liverpool, Glasgow, and Manchester – all located north of the Midlands. This geographical skew raises interesting questions. Does it reflect a genuine cultural divergence in how humour is expressed and enjoyed, perhaps a more overt, less reserved style in the North? Or could it be linked to differences in online behaviour, such as a greater propensity to write effusive reviews for popular northern venues or comedians whose style generates keywords like "hilarious"? Socio-economic factors influencing leisure choices and online expression might also play a role. The study observes the pattern but doesn't definitively explain its cause, leaving room for interpretation around cultural identity and expression.

Interestingly, Edinburgh, globally renowned for its Fringe festival, a major comedy hub, failed to make the top five. This suggests the study's focus on keywords within general online reviews likely measures a city's baseline, everyday appreciation and expression of humour, rather than the impact of large-scale, transient events.

Beyond city rankings, the research also employed a "Funny Score" system to identify Britain's most beloved comedians, based on the frequency of humour-related phrases appearing in reviews associated with them. James Acaster topped this list, lauded in comments under his Netflix specials and podcasts, with fans dubbing him "the funniest person alive". Mo Gilligan followed, scoring highly thanks to live show reviews praising his performances as "belly-laugh inducing" and leaving audiences unable to stop laughing.

Table 2: Britain's Most Beloved Comedians (USDT Casino Study)

Rank	Comedian	Notable Mentions/Praise
1	James Acaster	"Funniest person alive" (Netflix specials, podcasts)
2	Mo Gilligan	"Belly-laugh inducing", "couldn't stop laughing" (live shows)

Source: USDT Casino study "Funny Score" based on humour phrases in public reviews

Jim Rose, spokesperson for USDT Casino, summarised the findings: "We wanted to find out which parts of the UK are actually laughing the most, and Liverpool ran away with it. Whether it's the Scouse sense of humour or the love of stand-up, it's clearly a city that knows how to enjoy a proper belly-laugh". His comments reinforce that the study measured expressed audience reaction – the fans laughing the hardest, at least online.

A History of Humour: Glasgow's Comic Roots

Glasgow's newly minted status as the UK's second funniest city is built on foundations laid centuries ago. The city's comedic tradition is deeply interwoven with its social history, shaped by its industrial past, working-class culture, and its historical position as the "second city of the British Empire" during the Victorian era.

The genesis of public comedy performance in Glasgow, as elsewhere in Britain, lies in the music halls that emerged from pub entertainment in the mid-19th century. Early examples included Shearer’s Whitebait Concert Rooms and Davie Brown’s Royal Music Hall, places described vividly as dense with smoke. Demand quickly led to purpose-built venues like the Britannia (1859) in the Trongate, a survivor from that era. These halls, while part of a national trend, developed a distinctly Scottish character, incorporating traditional songs, local humour, and elements of the national drama.

By the 1880s, the "Scotch comic" was a staple. Figures like Harry Linn and W.F. Frame performed character sketches and songs in the urban Scots dialect of their working-class audiences, a contrast to the later, internationally famous kilted persona of Sir Harry Lauder. The late 19th and early 20th centuries saw music hall evolve into 'variety theatre', aiming for broader appeal. Grand new venues, dubbed "palaces of varieties," arose, including Glasgow's Empire Palace (1897), the Pavilion (1904), Palace (1905), and Alhambra (1911).

The 1920s and 30s heralded a golden age for Scottish variety, producing stars whose names resonated across the UK thanks to radio, recordings, and film. Glasgow contributed heavily with talents like the "gawky Glasgow droll" Tommy Lorne, alongside Will Fyffe, Harry Gordon, Alec Finlay, and Dave Willis. Pantomime was a crucial showcase, particularly in Glasgow. The Alhambra hosted lavish productions often starring Harry Gordon and Will Fyffe, while the Royal Princess’s pantomimes launched Tommy Lorne's career and were famed for their epic length. The Queen’s Theatre at Glasgow Cross gained notoriety for its risqué, "gallus" pantos, eventually attracting censorship.

The post-war era saw the rise of television challenge the dominance of variety, although it produced another generation of stars with Glasgow roots, including Stanley Baxter, Rikki Fulton, Jimmy Logan, and Johnny Beattie. Shows like Howard and Wyndham’s Five Past Eight at the Alhambra remained hugely popular into the 1960s.

No account of Glasgow comedy is complete without Sir Billy Connolly. Emerging from the folk scene of the 1960s and 70s, Connolly, born in Govan, revolutionised stand-up with his rambling, observational, and often controversial style, deeply rooted in Glasgow life but achieving global acclaim. He is widely regarded as the ultimate embodiment of Glaswegian humour, topping polls as the UK's greatest stand-up. His influence is immense, paving the way for subsequent generations. The criteria for the GICF's "Sir Billy Connolly Spirit of Glasgow Award" – Resilient, Open, Unapologetic, Gallus, Funny – attempt to capture the essence he represents.

The modern stand-up circuit received a vital boost with the arrival of The Stand Comedy Club. Founded in Edinburgh in 1995, its Glasgow branch opened in Woodlands in 2000, becoming Scotland's first dedicated year-round comedy club. It provided a crucial platform outside the festival circuit, helping launch the careers of major contemporary names like Kevin Bridges and Frankie Boyle.

Glasgow Live: The Contemporary Comedy Scene

Building on this rich heritage, Glasgow's contemporary comedy scene is a thriving ecosystem, confirming the city's status as a major centre for laughter in the UK. From established clubs to burgeoning open mic nights and a world-renowned festival, the city offers comedy nearly every night of the week.

The Stand Comedy Club remains a cornerstone. Located in the West End, it offers shows seven nights a week, including its legendary weekly beginners' showcase, Red Raw, widely regarded as the best open mic night in the UK. It continues to be a vital proving ground for new talent. Joining it as a key player is The Glee Club, which opened its Glasgow branch in 2019. Following a successful format of a compere and three acts, it hosts a mix of established touring comedians and rising stars, as well as popular 'Work In Progress' shows where big names try out new material.

Beyond these dedicated clubs, comedy spills out into numerous other venues. The Glasgow International Comedy Festival (GICF) utilises spaces across the city, from grand theatres like the King's Theatre and the Pavilion, iconic music venues like the OVO Hydro and Barrowland Ballroom, to arts centres like Oran Mor and countless pubs and bars such as Tennent's Bar, Blackfriars, Drygate, and the Strathduie Bar.

The open mic scene is particularly vibrant, acting as the grassroots incubator for future stars. Alongside The Stand's Red Raw, Tennent's Laughter Lounge offers a free weekly open mic. Online forums and listings point to numerous other nights popping up in pubs like The Glad Cafe (Crossmalaff), The Machair, and Solid Rock, indicating a healthy, accessible entry point for aspiring comedians.

The jewel in the crown is undoubtedly the Glasgow International Comedy Festival (GICF). Established in 2002 and held annually in March, it has grown into Scotland's largest dedicated comedy festival. Recent years have seen record-breaking figures, with the 2025 festival featuring over 605 shows across 19 days in 47 venues, attracting over 61,000 attendees. Its ambition is global, aiming to promote Glasgow as the "funniest city in the world" and celebrate comedy's role in Scottish culture. The festival provides a platform for homegrown talent alongside major UK and international stars, encompassing diverse genres from stand-up and improv to musical comedy and family shows. Its cultural significance was recognised in 2019 when the European Commission cited it as integral to Glasgow being named the UK's top cultural and creative city. The festival also runs initiatives like charity fundraisers and an 'Introduction to Comedy Course' specifically for women and marginalised genders. Since 2023, it has presented the Sir Billy Connolly Spirit of Glasgow Award, honouring comedians who embody the city's unique comedic ethos; recent winners include Janey Godley, Susie McCabe, and Rosco McClelland.

This fertile ground continues to produce and host major comedic voices. Kevin Bridges and Frankie Boyle remain towering figures associated with the city. Susie McCabe, Larry Dean, and Fern Brady are prominent contemporary Scottish comedians with strong Glasgow connections and festival appearances. The GICF line-ups regularly feature a mix of these established names and dozens of emerging local acts like Raymond Mearns, Marc Jennings, and Paul Black.

Table 3: Glasgow's Comedy Hotspots

Venue/Night	Type	Key Feature/Significance
The Stand Comedy Club	Dedicated Club	Historic, nightly shows, Red Raw open mic (best in UK)
Glee Club Glasgow	Dedicated Club	Weekend shows, touring acts, Work In Progress nights
Glasgow Int'l Comedy Fest	Annual Festival	Scotland's largest, city-wide, diverse genres, major impact
King's Theatre / Pavilion etc	Theatres / Large Venues	Host major touring acts & GICF headline shows
Tennent's Laughter Lounge	Pub Open Mic	Free weekly showcase for new & established acts
Red Raw (at The Stand)	Open Mic	Highly regarded beginners' night, launchpad for careers
Various Pubs (Glad, Machair)	Pub Open Mic	Grassroots nights fostering emerging talent

The Weegie Wit: Defining Glaswegian Humour

Attempting to define a city's sense of humour is notoriously difficult, yet Glaswegian wit possesses widely recognised and often-discussed characteristics. It's a humour forged in the city's history, reflecting both its hardships and its indomitable spirit.

Several key traits emerge consistently from descriptions by comedians, writers, and cultural commentators. Self-deprecation is paramount; an ability to laugh at oneself, often mercilessly, is fundamental. This frequently extends to banter, a form of affectionate mockery and quick-witted exchange that is a social lubricant but requires navigating a fine line. As comedian Larry Dean noted, Scots "are not precious or particularly attached to any specific image or idea of ourselves... If someone wants a cheap laugh at our expense they're more than welcome... We'd probably laugh louder than anyone else".

Closely linked is a penchant for dark or black humour. Jokes often venture into territory considered taboo elsewhere – death, poverty, illness, even violence or terrorism – serving as a coping mechanism for life's difficulties. Billy Connolly's infamous routine about murdering his wife and burying her upside down to use as a bike rack exemplifies this bleak, absurd, and macabre streak, which he argued could only have come from Glasgow. Actor Brian Cox attributed this darker edge to the city's "perpetual misery" , while Connolly quipped, "The best thing about Glasgow is that if there's a nuclear attack, it'll look exactly the same afterwards". Kevin Bridges joked about the city being "flattered" by a terrorist attack, putting them on the map alongside New York and London.

Glaswegian humour is often observational and grounded in the realities of everyday, often working-class, life. Connolly and Bridges are masters of spinning hilarious, rambling anecdotes from mundane situations or encounters. This is coupled with a characteristic bluntness and directness – a tendency to "tell it like it is" without pretension. Bridges captured this perfectly: "In Glasgow, 'how' means 'why'? You do not ponder why. You demand HOW?".

The "gallus" attitude – defined in the Spirit of Glasgow award criteria as bold, brave, cheeky, unapologetic, self-starting – permeates the humour. It can manifest as defiant wit or a challenging stance. The distinctive Glasgow patter, the local dialect and slang, is crucial to the humour's flavour and authenticity, adding layers of meaning and cultural specificity. Stanley Baxter's catchphrase "Izat a marra on yer barra, Clara?" is unintelligible without understanding the patter. Finally, underlying much of the humour is a sense of resilience and toughness, a way of facing adversity with a wry grin or a defiant laugh.

From a sociological perspective, this distinctive humour serves important functions. Theories suggest humour can act as a relief mechanism for tension and hardship (relief theory), a way to assert identity and feel superior through banter (superiority theory), or arise from the incongruity between expectation and reality (incongruity theory). Glaswegian humour arguably employs all three. It demonstrably strengthens social bonds and reinforces group identity, particularly through the shared understanding of local references and dialect. In a Scottish context where concepts like the "cultural cringe" – an internalised sense of cultural inferiority often linked to historical power dynamics – are discussed, a robust, unapologetic local humour can act as a powerful form of cultural assertion and resistance.

Clash of the Comic Titans: Glasgow vs. Liverpool

The USDT Casino study placing Liverpool first and Glasgow second inevitably invites comparison. Both are cities forged in similar crucibles: major port cities with industrial pasts, strong working-class identities, a history of economic hardship, and populations renowned for their quick wit and distinctive humour. They even tied for first place in a 2024 survey on the UK's most honest cities. The study itself highlighted the "Scouse sense of humour" and "love of stand-up" as key factors in Liverpool's victory, based on the higher percentage (39% vs 34%) of online reviews explicitly mentioning laughter.

Liverpool boasts its own rich comedy heritage, from legends like Ken Dodd and Jimmy Tarbuck to contemporary stars like John Bishop, Paul Smith and Adam Rowe, often nurtured by influential clubs like the Hot Water Comedy Club, known for its viral online presence, and Laughterhouse. Scouse humour is typically characterised as quick-witted, observational, and heavily reliant on banter or "sledging". Like Glaswegians, Scousers are often portrayed (sometimes stereotypically in media) as resilient, anti-authoritarian, fiercely loyal to their local identity ("Scouse not English"), and possessing a humour that can be edgy or confrontational.

Given these parallels, what distinguishes them? Both humours are rooted in working-class life and observational wit. Both cities have vibrant club scenes fostering local talent. Both appreciate stand-up and possess a certain anti-establishment streak. The differences may be subtle matters of emphasis or flavour. Descriptions of Glaswegian humour frequently highlight its "dark," "bleak," or "gallus" aspects. While Scouse humour is certainly edgy and involves sharp banter, the 'darkness' seems less emphasized in available descriptions, though media stereotypes often touch on criminality or argumentativeness. The specific dialects – the Glasgow patter versus the Scouse accent – undoubtedly create different comedic rhythms and textures. Perhaps the slight edge for Liverpool in the USDT study reflects a subtle difference in how audiences express their appreciation online, or maybe the specific style of humour currently popular in Liverpool's major clubs translates more readily into the keywords measured. It might also reflect the significant online footprint of venues like Hot Water Comedy Club.

Looking broader, Manchester ranked third (31%), continuing the northern dominance in the study, while London's preference for "clever" and "witty" descriptions positioned it differently on this particular humour map.

Conclusion

Glasgow's ranking as the second funniest city in the UK, according to the USDT Casino study's analysis of online laughter expression, provides a quantitative affirmation of what many have long felt intuitively: the city possesses a powerful and distinctive comedic pulse. While Liverpool took the top spot based on the specific metric of laughter-related keywords in online reviews, Glasgow's strong showing underscores its enduring reputation for humour.

This standing is no accident. It is built upon a rich history stretching back to the smoky music halls of the 19th century, evolving through the golden age of variety and pantomime, and profoundly shaped by comedic titans like Sir Billy Connolly. Today, it manifests in a vibrant contemporary scene, anchored by dedicated clubs like The Stand and The Glee Club, nurtured by numerous open mic nights, and celebrated annually by the world-class Glasgow International Comedy Festival. This infrastructure supports a unique brand of Glaswegian humour – often dark, relentlessly self-deprecating, observational, blunt, resilient, and proudly "gallus".

Whether measured by the frequency of "hilarious" mentions in online reviews or by the laughter echoing nightly in its comedy venues, the enduring legacy of its comedians, and the spirit defined by the Big Yin himself, Glasgow rightly claims its place as one of the UK's – and, as its festival proclaims, perhaps one of the world's – true capitals of comedy.