Josh Glanc opens his show with a heartfelt ode to the best night’s sleep he’s ever had, before he quickly subverts it. And subversion is very much a theme throughout this daft hour. He has a playfully soulful voice reminiscent of Randy Newman, together with a book of silly wee songs in his repertoire to back it up. Spotting an empty seat on the front row, the comedian manages to cajole (without leaving the stage) a very game passer-by to not only join in the fun but to sit on that chair and become an integral part of the show (‘am I a sacrifice?’ the guest reasonably enquires).

Throughout the hour, Glanc gleefully undermines his set with numerous false endings, several restarts and an occasional, sweet reproach of his venue’s marketing assertions. He’s a captivating presence on stage who uses his charm to recruit members of the audience to help him out with brief sketches, such as a gospel-inflected deliverance service with a difference. Because the solicited responses from audience members lack amplification, some of them fail to reach the whole room which seems a real shame when those nearby roar with laughter. Nevertheless, Family Man is a joyfully subversive hour.

This review was originally written in 2024 for the Edinburgh Fringe Festival; Josh Glanc: Family Man will be performed at The Garden Of Unearthly Delights from Monday 17-Sunday 23 March, 7pm; main picture: Marcelle Bradbeer.