If you've spotted the name 'Huge Davies' on this site over the last couple of years and assumed that it's an affectionate nickname for Greg - we can totally see how you got there. But no, Huge is making a big name for himself on the nation's stages now too, having nabbed a coveted Best Newcomer nomination at last year's Edinburgh Fringe.
The keyboard-plonking-but-pleasingly-deadpan comic secured himself a sought-after slot on Harry Hill's ClubNite after that, and is now preparing for a couple of nights at London's Soho Theatre, later this month. It's all happening. Remind us, Huge, what that show is about.
"The Carpark is a musical that I've composed and set in a carpark," he explains. "The musical is also about a carpark. I don't have a carpark for any dates I've booked, but I'm sure I'll figure something out."
Think Cats, without the cats, or the budget, but with critical acclaim instead. Something like that. In the meantime, let's reminisce about a debut that featured another distinctive musical talent.
My first gig is still top-five worst gigs I've ever had. It was in a pub in North London, but the open mic was open to anything that could technically be a performance. I had to follow one guy's black and white short film. It was set in ASDA shot from the perspective of a shopping trolley, whilst he played the theremin with his eyes shut.
Everyone at the pub loved it. I had a gig so devastating I almost quit on the spot.
Favourite show, ever?
I'm not sure I have a favourite. Maybe the most significant one was doing Set List last year. Despite having done stand-up for five years, I'd not performed without music, so to have done it for the first time whilst improvising a set on the spot was, to me, a living nightmare that I'm really proud of.
Last month. For some reason there were six elderly people at the back of the venue eating curry and talking loudly to each other over my set. There was a running joke that I'd not made, about how much worse I was than the loud fireworks display going on behind me through the window. One man attempted to get everyone to go to the bar to boycott my act.
The heckling became so bad, I had to organise them all, because they were shouting over each other. They were so angry they started literally fighting each other until the gig was shut down.
Which one person influenced your comedy life most significantly?
Probably Bill Bailey. He's the first comedian I watched religiously as a teenager. His creativity, musicality and accessibility are all things that musical comedians want, but probably don't have.
And who's the most disagreeable person you've come across in the business?
On the way to a gig a comedian once ordered a coffee at a service station, then went back to my car so I had to pay for it. Not as a joke, on purpose, to save money. Conversations he started in the car were 'is cheating ok?', 'can women be funny?' and 'how to handle being too famous'.
He flat-out refused to leave the gig until he was paid in cash. He sat in the back on the way home so he could feel like he was 'in an Uber'. It's like a cartoon of someone unbearable.
Is there one routine/gag/song you loved, that audiences inexplicably didn't?
Most of the stuff I write applies. There was one bit I wrote called Childline, which was about a gameshow I'd developed with my uncle, in which we'd force children to fight on tightropes, which to this day has never got a laugh. Not once.
The worse thing is, I then have to commit to the performance of the full 'theme song' once I've started the bit, so it's always a long three minutes for a payoff that no one asked for.
Do you have any keyboard-care tips, for musical comedians on the move?
Buy a terrible keyboard and then you don't have to look after it. Terrible keyboards are lighter, cheaper and funnier than good keyboards. Also, don't use a keyboard. It's second-rate comedy and you'll be bullied relentlessly in green rooms by actual comedians.
Are there particular reviews, heckles or post-gig reactions that stick in the mind?
As a set-up for a joke I used to ask 'Any questions?', but an elderly audience member once stood up before the punchline and just said 'Why'. They then walked out in complete silence. It's probably the only heckle I often think about. The silence made the gig feel very religious and almost moving.
Also, I was recently confronted by a reviewer in person, who had given me a bad review because they thought I was faking playing the keyboard. She suggested the tech was playing the keyboard and I was perfectly miming playing a stage keyboard for an entire hour. To make it easier for myself.
How do you feel about where your career is at, right now?
I'm very happy, but my uncle is desperate to get Childline up and running (still nothing).