Many of Stewart Lee’s long time admirers have never had any doubts about his comedic credentials, his trademark razor sharp brand of intellectual wit, and the astonishingly clever structure to all his routines. However, ‘cult’ status would be a more fitting term to bestow upon the popularity that Lee maintains to have.

He did after all, memorably name one of his runs ’41st Best Stand Up Comedian Ever’, as he was labeled by a meaningless Sunday Night compilation by Channel 4. Or he is more likely to be confused for being a washed up Terry Christian, the lead singer of UB40, or as he now claims, a more personable version of General Ratko Mladic.

Perhaps Lee’s eclectic career, which included writing a critically acclaimed musical, novel and a triumphant return to the BBC, sets him apart from being a bona fide jaded veteran of the stand up game. Therefore, he may not get the same recognition as the ubiquitous types that populate panel shows. In reality, he hasn’t traditionally got the same attention, probabl because he’s so good, and his is a brilliance that has gone over the heads of the masses.

These days, that is certainly the case, and arguably more than ever. In a deeply depressing cultural malaise, and one that is more transparent in comedy than many other disciplines, Lee’s virtuoso brand will certainly go over the heads of Michael McIntyre and James Corden fans, who queue up at the Hammersmith Apollo in their droves to subscribe to a nonsensical and utterly banal brand of ‘observational comedy’. This is all we now know. When I booked tickets for ‘Carpet Remnant World’, Lee’s brilliant new show at Leicester Square Theatre, I was greeted by an operator with the following message: ‘Welcome to Leicester Square Ticket Office.

If you’re enquiring about Michael McIntyre Tickets, Please Press 1, for all other enquiries, please press 2’.

Shocking realizations such as this is the reaso why many (slightly more enlightened people) have slowly woken up, and realized that Stewart Lee represents their only form of a more thought provoking, penetrating and intellectual brand of comedy. Perhaps this is a brand that is something of an endangered species, with Lee unwittingly maintaining its flickering flame.

Offering the antidote ensures that he remains ‘cult’ and an outsider. Ironically though, it also serves as the reason why he has risen in demand. Without realizing it, he has become comedy’s pied piper to those who seek a little bit more in their humour. He is a reluctant saviour of sorts. Although I’m sure he would be the last person to admit that tag.

Personally, these were all reasons why I had looked forward to ‘Carpet Remnant World’ so much, as comedy’s lone crusader against Mock The Week culture took the stage to not only induce a constant stream of hilarity, but also to stimulate, thought provoke, and wow you with the cleverness of a satirical and irony laden routine.

The crux of his work has always relied on his supreme intelligence and eloquence, strengths that when combined with a devastating wit can truly bowl you over. That and the fact that he is pretty much right about everything all tend to help.

The premise behind ‘Carpet Remnant World’ is that Lee is washed up, sardonic, and at 43 years of age and spending most of his time looking after his 4 year old Scooby Doo obsessed son, he is hopelessly out of touch with today’s brand of comedy. He’s not wanted on panel shows. He doesn’t do crude jokes about the Queen’s vagina. His name isn’t Russell.

And he doesn’t traverse the stage in manic fashion asking ‘Do you know when like…eh’ ad nauseum. Therefore, he has no material. He has nothing, and he’s useless. All he has is the hours of driving from gig to gig in one horse towns and scoping out World of Leather stores on the motorway for inspiration. That, Scooby Doo, the odd news story and resuscitating some Tory related cheap shots at Thatcher. Given that people now recognize him from the telly, he feels the need to constantly apologise to the audience who came in search of Panel Show material. They’re not going to get it here. Instead, he brashly declares that the style of his show is going to be ‘form interrogated by content through a haze of passive-aggressive monotony’

Of course, if this was anybody else, it would sound like hell on earth as opposed to comedy. Instead, its Lee’s ingenious way of theming his show. It is from this premise of being banal and ‘having nothing’ that he drives all his jokes and material from. You could say, in a way that Lee himself could quite possibly articulate, he is almost using the ‘rhetoric’ and implied ‘values’ of a Michael McIntyre era of philistine friendly comedy to satirize that very same Michael McIntyre era of philistine friendly comedy.

Astute observations, and clever constructs based on them, often form some his best routines, showcasing such a unique brand of intelligence that Lee seems to be associated with. Routines on sensitive areas such as Islamophobia, and linking it with American reaction to the killing of Osama Bin Laden were utterly hilarious, but also thought provoking to the extent where he doesn’t just make you laugh, but truly opens your eyes to some of the ridiculousness out there.

It’s all extremely thoughtful and crafty, despite masquerading as a haphazard and limp set that is devoid of any material. Marvellously sharp, and classic Lee, always one step ahead of the audience.

Such a unique comedian should be a treasure to behold, particularly in the climate against which he directs his backlash. There’s something very Bill Hicks about his tone, subject matter and delivery. While Hicks has become utterly revered posthumously, and his worth as a voice and commentator became sorely missed, I would already classify Lee in his league. Whereas Hicks was more overtly political, Lee has slowly but surely become associated with a very cultural importance, as the standalone intellect, and genius of his craft, whilst being surrounded by a sea of fools. Indeed, the situation in comedy is merely representative of a much wider cultural malaise. Look no further than X Factor saturated music charts, the glut of Dan Brown/Harry Potter pulp fiction and Twilight’s permanent residency in cinema screens.

Lee himself has mused on this, by pointing that in the modern climate, merciless cuts have led to the discouragement of studying the arts, or unemployment and housing benefits have been eroded so significantly that creative people and artists can’t live as cheaply as before, and now have less opportunity to truly devote themselves to their craft.

It’s a fair point. Especially considering when he illustrates it by pointing out that there is no way he would have made it to Oxford in these current times. Oxford of course, a pinnacle of education, encouraging creativity, allowing him the opportunity to refine his intelligence, and the inspiration to become the stand out stand up he is today. In other words, an ambassador for the slightly more ‘enlightened’, or quite simply, those who care and are interested.

So that’s why he’s so important in the modern age we find ourselves in. Cherish him while you can. And if you get the chance, why not check out ‘Carpet Remnant World’ in Leicester Square Theatre now. And here’s a delightful sampler for those of you who are a little bit more William Blake than Harry Potter, just like our Stewart.