Wednesday 10th October 2012

“PPI... I need that money so I can adopt a snow leopard... Just a wee joke for the daytime T.V. connoisseur.”

The Aberdeen Exhibition Centre or 'the cow shed' as Bridges refers to it, booms with laughter when the Clydebank comedian revels in the escapades of his modest holiday to Magaluf. As always, dressed wholly in black, he appreciates his jokes by following them with a low snigger.

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“Still tryn tae buy more booze and the cabin crew are sayin 'you do realise guys, that one alcoholic drink consumed in the sky, is the equivalent of two consumed on the ground, just to warn you there.’

‘Ye hear that Rambo? Guy sayin its two for wans mate, wake up... Wake up Craigy it’s fuckin happy hour the guy says!’”

Kevin’s ingenuity lies in his accents and facial expressions. He plays on being the rough Clydebank lad, giving the air steward a posh nasal accent while he and his mates are the uneducated fools. The animation in his voice, the expression in his tone, the way in which he exuberantly tells the simple tale of his flight to Spain has the shed buckled by its hilarity.

He stands on the simplistic stage in front of his name in lights. There are no props, it is literally just Kevin, his name and a microphone. He is dressed maturely, which is a stark contrast to his twenty-five years of age. The set up is very traditional and plain, reflective of his un-glamorous lifestyle. The modesty of the scene creates a warm and intimate affect which would be found in a much smaller venue. It is this genuine down to earth attitude in presentation as well as his plain spoken manner which make the comedian so likeable. He tells anecdotes where he is on the bus, and one can genuinely believe that Bridges takes the bus.

The audience feel as though Kevin is equal to them, he jokes that his own celebrity chat show would be called “Did ye? Aye?” which is typical of his cutting edge humour, and of his level of concern over being liked. He is unlike any of his peers in the comedy business. There is a clear impression that Bridges is not fussed for the money involved in fame. This is encouraged by his announcement that he has just moved out of his parents’ house. Kevin is in this business for the comedy value, one of the qualities which make him so likeable and unique.

Bridges, in his trademark deep Glaswegian twang, moves on to discuss his views on the current music scene,

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“That’s what passes for a love song. That’s what passes for romance in the modern generation. In this day and age, ‘I’d catch a grenade for love’. That’s deep, that’s love.
Sorry mate I don’t want to offer love advice but if you’re dating a girl that folk are chuckin grenades at...”

Kevin interprets basic events in such an individual manner.

'The Story Continues' takes everyday situations which Kevin applies his unique observations to, and by doing so creates a hilarious result. He uses his life as the topic for the stand up, which on paper is not particularly interesting, but through his own way of telling his stories and through his perceptions of everyday things, it becomes massively entertaining. 

 After selling out three nights at the AECC it seems Bridges technique is a popular one.