On April 24^th 2026 Jimmy launched his Crowd Work podcast (more here), which is an audio only version of his heckle amnesty clips (for people that like to listen on the move) from the Laughs Funny tour.

This podcast releases 3 times a week and I’ve been poking around in the numerous charts and trying to see any sort of trend, as to if / when a new release impacts the chart position. So far, no luck.

I’m also trying to find which chart is best to monitor as there are charts for:

• Amazon Audible – here
• Amazon Audible / comedy – here
• Apple Top Shows / UK – here
• Apple Comedy / UK – here
• Apple Top Episodes / UK – here
• Spotify Top Podcasts – here
• Spotify Comedy / UK – here

But then you also have charts like Podchaser (here) and Podtail (here) which you can view by variations of both Country AND Genre…and no easy way to find an individual podcast, except for looking at each chart.

Meanwhile the “comedy” genre has some shows in it that I wouldn’t classify as comedy, myself. For example – Jamie Laing (and wife) have a podcast called Newly Parents, which could be “amusing” but it’s not comedy. Plus, any show HOSTED by a comedian (e.g. Fin Taylor’s – Fin v History) are also in the comedy category. It’s all a little scattergun.

Some shows do well on one platform and terrible on another (I’ve seen one with a difference of 120 places, between Apple and Spotify).

Finally, some charts are only Top 50 and some may be Top 198 (bit random).

The Numbers…

While looking for Crowd Work I also came across The Big Pitch with Jimmy Carr, launched May 28^th 2025 (here) and also the Last One Laughing Last Laugh podcast (launched March 19^th 2026 – here) hosted by Roisin Conaty (playlist for that one, on YouTube, is here).

Amazon Audible

Monitoring charts for both “all” and comedy. Positions below are on the comedy chart:

• Crowd Work – not charted at all yet (either)
• The Big Pitch with Jimmy Carr – highest position #70 with 1 rating giving it a score of 5.0
• Locked Together 2020 (here) – highest position #60 with 419 ratings giving it a score of 4.3 (across the full series, here)
• LOL / Roisin – highest position #53 with 3 ratings giving it a score of 3.7

Apple Comedy UK

Crowd Work has been in the charts from the start with a highest position of #39 and an overall average position of #81.

Apple Top Shows

UK highest position #171 but hasn’t featured for almost 3 weeks.

Australia highest position #167 but hasn’t featured for 10 days.

Podchaser Apple Comedy

This chart is an oddity as it is supposedly an API feed, from Apple stats, but the Australia positions are better on Podchaser. Highest #48 and average is #69.

Ditto the feed for Apple Comedy / UK with a highest position of #37 and an average of #79.

YouTube

The 17 episodes released, to date, are in a YouTube playlist – here.

As an audio only offering YouTube is not the intended platform – but they’ve had 41,700+ listens between them.

Summary

On Apple the 8 ratings so far have resulted in a 5.0 (here) – other platforms are not showing ratings.

Considering how (relatively) little promotion it’s had – it’s building a steady audience.

It’s charting regularly for the UK and Australia, but not hit the US yet. When that audience kicks in that should make a difference to the overall views (listens).

As none of these platforms (apart from YouTube) give a hint as to what the individual listener numbers are – it’s hard to get a good handle on progress. For example:

• As we move into holiday season do people listen more or less frequently?
• Is it gaining ground, numbers wise, or are a &age of people trying once and abandoning?
• How many of these charts are real time and, if some only update daily or weekly, what is the timing? None of them really say.
• Why do charts with APIs from Apple show different numbers?

It’s up against pods that have been around for years and that often have 100’s of episodes for listeners to binge on. Once it has a bigger back catalogue, I suspect that it will achieve higher chart positions.

And the episodes, of course, will be there forever. Like the YouTube audio / video versions they function as an advert for future ticket sales.