Bill Bailey

Bill Bailey

Real name: Mark Bailey
Date of birth: 13-01-1964
Born and raised in the West Country, Bill Bailey showed an early passion for music, forming the school band Behind Closed Doors.  It was also at school that he acquired the nickname Bill, thanks to a geography teacher who was a fan of the song Won't You Come Home Bill Bailey?

He seemed destined for a career in music; being the only pupil at his school to study the subject at A-level, before attending the  London College of Music.  In his early years, he performed with an 'enthusiastic if unsuccessful', four-piece band called The Famous Five. But he says he always felt the urge to slip jokes into the set.

Bailey also had a passion for theatre, and he spent much of the Eighties touring with a Welsh experimental theatre company, which he combined with a job as a lounge pianist and a keyboard player in a jazz trio. But one night Bailey saw comic poet John Hegley, who inspired him to combine music and comedy.

In 1986 he formed a double act, the Rubber Bishops, with Toby Longworth, who was replaced in 1988 by Martin Stubbs.  Around this time he was also performing with  London topical comedy team Newsrevue.

Once the double act dissolved, he formed the pub band Beergut 100, and started performing stand-up solo.  In 1994, he performed  at the Edinburgh Fringe with Sean Lock with the show Rock, about an ageing rockstar and his roadie

The following he returned with his debut solo show, and in 1996 earned a Perrier nomination for his show Cosmic Jam. The show was later recorded for TV, but it took until 2005 for it to be released on DVD.

His Perrier success landed him several TV appearances, including a captaincy on the ill-fated Channel 4 sci-fi panel game Space Cadets. But three years after his Perrier success, Bailey was writing and starring in his own BBC Two show Is It Bill Baile?y, featuring  musical parodies, surreal sketches, and stand-up.

He continued to tour and  won the Best Live Stand-Up award at the 1999 British Comedy Awards. In 2001, he toured with Bewilderness and in 2003, he took to the road with Part Troll, following its debut at the Edinburgh Fringe. In 2007 he made the move to arenas, with the live show Tinselworm.

In 2000, he took the role as long-suffering Manny Bianco in Dylan Moran's sitcom Black Books, which cemented his burgeoning TV fame.

Now he is probably most famous as a team captain on comedy pop quiz Never Mind The Buzzcocks, taking over from Sean Hughes in 2002. Bailey has also appeared regularly on QI, Spaced, and as a guest on the likes of Room 101 and TV Heaven, Telly Hell.

Bailey has also been a straight actor. During the 2003 Edinburgh Festival he starred in a production of Twelve Angry Men, alongiside other comedians and two years later appeared opposite Alan Davies in an Edinburgh Fringe producton of The Odd Couple. He voiced the sperm whale in 2005's The Hitchhiker's Guide to the Galaxy movie  In 2007, Bailey appreared in a West End revival of Harold Pinter sketches, Pinter's People, which he helped bring to the stage.

He is also a wildlife campagner and presented Wild Thing I Love You which began on Channel 4 on October 15, 2006.

He became a father in 2003, and named his son Dax after the Star Trek: Deep Space 9 character.

Read More
© PA Images / Alamy Stock Photo

Bill Bailey: Thoughtifier

Review of the musical comic's ' new slab of noodling'

That blip of winning Strictly aside, not much changes in the world of Bill Bailey, who landed on his formula of stand-up and musical comedy skits long ago and has been steadily harvesting the rewards ever since at sensible intervals. 

His new show is the first since he shaved off his iconic hairy wisps (the poster has now been photoshopped to take this into account), and it lends him a sleeker look. But otherwise fans can justifiably expect the usual mix of whimsy, tall tales and unlikely musical mash-ups from a man who still very much looks and acts like your local Camra representative / druid.

There’s no narrative or real theme to his somewhat disjointed ideas, but an unexpectedly melancholy makes itself known in the first half, as the bucolic countryside image projected as his backdrop gradually and unnervingly morphs into a technological wasteland of wires and metal. 

Silly songs about crabs and routines about tranquilised polar bears are predicated on seas full of microplastics and vanishing Arctic habitats – set-ups that makes you laugh and feel gloomy at the same time. It seems that issues of climate change and technological excess are weighing on Bailey’s mind, but, unable to find a funny way to address them directly, he’s stealthing these feelings into the background of his stand-up, to awkward and faintly ominous effect. Safe to say he hasn’t quite found an effective way to talk about these topics on stage.

His relationship with AI is complicated as well. He introduces the subject by talking about its dangers and its inherent coldness but then goes on to make extensive use of it for a handful of extremely ropey routines that pick apart the weird faces it makes during image generation – a bit which already feels two years out of date. 

At this point I should probably be considering a keyboard shortcut for the phrase ‘the AI section is comparatively very weak’ but I guess you can’t blame comedians for wanting to experiment with new toys. Bailey’s flirtations with it are yielding rough dividends though, especially his AI sea shanty, in which he confuses the premise even further by not actually using AI, instead trying to approximate its tone in his own writing. Presumably because the AI wasn’t throwing up anything funny.

In the second hour, we’re on firmer ground. You can tell Bailey’s a bit of a frustrated rock star. Relaxed to the point of dispassion on stage, he comes alive when he’s tinkering around with his musical instruments, and his experiments are always informative and entertaining, even when he doesn’t quite tie them to a real joke. 

His minor key version of Happy Birthday done in the Berlin cabaret style is a clear highlight, as is his cover of Coldplay’s Yellow translated into Turkish and played on the bouzouki saw, and his laser harp disco essay on Pachelbel’s Canon. This is why you come to see Bill Bailey; he absolutely delivers in these moments. Two hours is a pretty long time for any comedian to spend on stage, but the concentration of good stuff towards the end of the evening helps it zip towards the finish line.

As a show it’s a mixed bag, by turns complacent and entertaining, hopping between dozens of ideas with variable success – including a few undeniable highlights. His fans will no doubt be satisfied with another generous new slab of noodling.

Bill Bailey: Thoughtifier is at the Theatre Royal Haymarket until February 15. Tickets 

Enjoy our reviews? Like us to do more? Please consider supporting our in-depth coverage of Britain's live comedy scene with a monthly or one-off ko-fi donation, if you can. The more you support us, the more we can cover! 
Read More

Published: 30 Dec 2024

Funny Valentines

The BBC's new Funny Valentine shorts released on iPlayer…
16/02/2015

Pinter's People

Harold Pinter might not be everyone’s first choice…
1/01/2009

Latitude 2008

DAY ONE: FridayLatitude has always strived to be more…
1/01/2008

Twelve Angry Men

It was something of a gamble casting only comedians…
1/01/2007

Bill Bailey

Another year, another Edinburgh show from the self-confessed…
1/01/2000

We see you are using AdBlocker software. Chortle relies on advertisers to fund this website so it’s free for you, so we would ask that you disable it for this site. Our ads are non-intrusive and relevant. Help keep Chortle viable.