John-Luke Roberts @ Pub/Zoo, 22 April

XS Malarkey’s non-profit ethos, and commitment to supporting both the absolute beginners and rising stars of the circuit, and allowing them to share the stage with heavy hitters and experienced acts is still the top of the agenda here, in firm opposition to the money-making focus of many of its rivals. Headlined by long-standing member of London abstract factory The Alternative Comedy Memorial Society, John-Luke Roberts, and supported by a strong local trio, ably led by corduroy-clad resident compère Toby Hadoke, XS may have changed venue numerous times over the past few years but has lost none of its soul.

Opener Steve Titley mixes political jokes with amusing rants about life in general as he invites you to share in his frustrations and disappointment with the world. He's followed by Helen Keeler, whose cheerful demeanour tinged with self-deprecation is both enjoyable and endearing. Her observational style is very entertaining, though she does have a tendency to switch topics without smooth transitions, and the already well-worn ground of many of her targets might dull the impact for some of the audience.

Middle act Tom Taylor begins his set with an impressively long silent opening. This can be a risky option if audiences are uncooperative; if a few overly rowdy audience members throw in heckles, then the entire mood can be ruined. At XS Malarkey, though, the comedy-savvy audience are happy to indulge him as he skillfully manages to wring laughs out of every nervous glance and readjustment of his seat and microphone. His brand of nervous, neurotic musical comedy – coupling deliberately simplistic tunes on an old Casio keyboard with cleverly constructed lyrics and smart wordplay – is an absolute delight.

Capping off the night, John-Luke Roberts serves up a real bag of comedy forms. His act shifts seamlessly between visual gags, character comedy, surreal flights of fancy and audience interaction, and you’re never quite sure where he’s going next. One moment he’s presenting a flip chart of clever sight gags, the next he’s delivering hilarious life messages in character as a pompous philosopher, then he’s firing wickedly inventive insults at the crowd.

The eccentric styles at play here, shattering the fourth wall as he comments on his own act, staging missed cues, and bouncing jokes off audience members, makes it at times feel a little less like being in the audience watching a comedian, and a little more like being in a comedic duo where the audience is the straight man. A fitting tribute to a night that loves its audience just as much as the acts they present.