Do you keep notes on which London rooms suit which material?

I’m starting to think “that bit works” is less useful than knowing where it works. Some material seems to want a close, attentive room; other stuff survives a noisier night because the premise is obvious immediately. Do you keep any kind of note on the room when you log a set — size, layout, how late you were on, audience energy — or does that become an excuse for the material? I want enough context to spot patterns without ending up with a spreadsheet explaining why every bad gig wasn’t my fault.

When a London room runs late, do you change your set because people are tired?

Late rooms make me wonder how much an act should adapt before they’ve even started. If you’re on near the end and the audience has already watched a lot of comedy, do you tighten the setup and get to the first laugh faster, swap in material you know is punchier, or trust the set you planned? I can’t tell when that’s sensible room-reading and when it’s just panicking because it’s 10:45.

Do you stay for the whole show when your London spot is early?

I’m trying not to be the person who does five minutes and immediately vanishes, but some London nights finish late enough that staying to the end can add another hour to getting home. If you’re on early, what’s reasonable etiquette? Stay for the whole show whenever possible, stay for a few acts, or does it depend on what the organiser has asked for?

How far across London is actually worth travelling for five minutes?

I’m starting to realise a five-minute spot can quietly become a four-hour evening once you add getting across London, waiting around and getting home. I don’t want to become precious about travel this early, but I also don’t think every bit of stage time is automatically equal. How do London comics decide when a short spot is worth the journey — quality of the room, chance of another booking, how much you need to test the material, or just taking everything you can at first?