The careers of Jonathan Blewitt and Jolly John Nash spanned the development and consolidation of the Victorian music hall and their provocations of audience laughter by laughing themselves provide case studies for understanding the role of laughter in the material and cultural contexts of that development. Beginning with an examination of Blewitt’s originary ‘laughing song’ The Merry Little Grey Fat Man (1843) and its sources in the theatres of the earlier nineteenth century, the essay traces Nash’s self-consciously historicised development of its ‘laughing comedy’ through his personification of cultural values of jolliness and merriment. While retaining a fascination with the eruptive comedy of Blewitt’s song, it argues, Nash negotiated the changing environments of the new entertainment industry through his presentation of a performed laughter that was variously radically innovative, politically conservative and attuned to the later music hall’s self-representation as a nostalgically-imbued national ‘tradition’.