Sheeps, the sketch comedy threesome, had never really gone away but when they performed Live and Loud Selfie Sex Harry Potter at the Edinburgh Fringe last year after a four-year absence, it was called a comeback. More a welcome reunion, as its members – Liam Williams, Daran Johnson and Alastair Roberts – had been busy doing solo projects.

The show, which they have brought to the Soho Theatre for a short run, is in the same vein as their previous work – original and intelligent sketch comedy with a touch of edginess and the surreal.

The first line of this show is “I'm the guy who you meet right after you come out of a long-term relationship.” On the night I see The Guy Who..., Adam Riches has three tries with it before he meets his target, a woman who has been dumped by a long-standing boyfriend.

Lost Voice Guy – aka Lee Ridley – won Britain’s Got Talent last year. He's a unique talent in that his cerebral palsy means he is unable to speak, and so he delivers his comedy through a synthesizer controlled via his iPad.

Daniel Sloss's latest show is called X, to denote his 10th show. The Scottish comic started in comedy as a teenager in 2009 when a lot of his material was knob and wank gags, but in recent years his work has had a progressively edgier feel, including shows that delved into his sister's death from cerebral palsy and the childhood grooming from which he had a lucky escape.

There's a story in James Acaster's superb new show at the Phoenix Theatre which hangs on him being the first UK comic to shoot several Netflix specials. He doesn't tells us this to boast; far from it. It's to set up another long-form gag, one of several lengthy and interconnected stories he tells in Cold Lasagne Hate Myself 1999, the two-part tale of the best and worst years of his life.

Suited and booted, Tom Allen and Suzi Ruffell presented this gala preview to the Leicester Comedy Festival, which is now in its 26^th year and starts next month. The comics, who do an occasional podcast together called Like Minded, make an engaging double act – although their solo shows couldn't be more different.

In 2016 Catherine Tate performed live comedy for the first time since her Edinburgh Fringe days at the beginning of her career, and the show was deservedly both a critical and box-office success. She later took it to Australia and New Zealand and now finishes with a West End run, with some updated sketches and two new cast members.

The highlight of 2018 for me was the return of two mighty sets of talents – Flight of the Conchords and The League of Gentlemen – and it was heartwarming to see that they had lost none of their sharpness, wit or love of performing in front of a live audience. In stand-up, while a lot of established comics were again producing the goods, one newcomer, a young Irishwoman, stood out.

As openings go, the first night of Hari Kondabolu's standup residency at Soho Theatre was pretty memorable, so get to American Hour in good time as he is trying to pull off the same trick when he can (no spoilers, but it involves quite a bit of planning for each performance, so he may not). It's a clever spoof on the “all Asians look the same to me” trope so beloved of white racists.

You might think that, given the upheaval we are living through, political comics would be 10 a penny but, surprisingly, they’re thin on the ground. Regardless of how any rivals he has, though, Matt Forde is surely the outstanding political comic working today.