He got nominated for 'Best Newcomer' at Edinburgh in 2007, and appearances on Live at the Apollo, Stand Up for the Week and Mock the Week have catapulted him to his first DVD The 'Out Out' Tour - Live. We got on the phone to talk all about it.
How would you describe your DVD 'Out Out'?
"What you're getting is the greatest hits from the last ten years of my stand-up. That's basically it. It was a time to commit it to tape."
Why are you only now getting your first recorded document?
"I could never see any point in sending out a DVD that nobody would buy or watch. I never saw the point in sending out all your best stuff recorded unless you had a fairly big market to send it out to, because you're sort of kissing it goodbye. The general rule is that once you've committed it to tape and people have bought it, you can't then perform it again live, and that's one I'm sticking to."
How different is your stand-up material from the stuff you do on panel shows?
"Because of the time limitations on TV, your material inevitably has to get much shorter and tighter and jokier. You literally get seconds, especially on a show like Mock the Week. The only chance you get to perform a piece of stand-up is when you're at the 'Wheel of News'.
"Apart from that you better get to the punchline fairly quickly. That's different from my actual stand-up, where I like to tell actual stories. I tend to veer towards more the shorter, punchier bits for panel shows."
Tim Vine told us he couldn't cope with that competitive element on Mock the Week - do you thrive on it?
"Comics generally are a one-man band - the only person you're competing with is yourself and the audience. When you're put in an environment where you've got to be funnier than other people or get to the funny bit quicker than someone else, a lot of comics find it very uncomfortable.
"However, we're grown-ups as well. You've seen the show, you know what it takes and Tim made the very grown-up decision of saying it's not for him. I looked at it and thought, 'I think I could do that' and gave it a go and found actually it's not as hard as people might make out."
Do your working class roots play an important part in your material?
"Because essentially a lot of this DVD is about my life, it would be silly for me not to talk about it. I grew up in a very, very working class environment in the East End of London. It's important that I point that out.
"What I don't want to do is romanticise it. It was what it was. Growing up on a council estate in Bethnal Green is not that different to growing up on a council estate in Glasgow or Ireland. We talk about it and then we get on with it."
Are ex-Oxford/Cambridge and Footlights types favoured by the industry?
"If you grow up in a very middle-class environment where your parents might work in the arts, or in TV or music or something, it doesn't seem like that a huge leap for you to move into it. Growing up in a very working class background, you have none of those connections.
"You don't feel as though it's your birthright to work in those industries. A lot of working class kids, their only way out is whether they can sing, dance, play football or box. Working in the production of and the making of TV or entertainment just seems like another world."
The Advertising Standards Authority ruled in your favour over 118-118 nicking your 'Out Out' phrase - have you taken that any further?
"In life, you have to know what battles to fight and for me to have gone for a long-winded court case to get them to admit that they might have seen my idea wasn't worth it. Also, when you're a comic you have to be a little bit careful about standing up and saying you're the only person in the world who ever thought that ever.
"There's always someone who can pull out a piece of footage from the 1930s of a comic on the Brighton coast going: ''Ere, are you lot out tonight, or are you lot out-out?'. There's a point where you have to say: 'I know you sort of took my idea, but that's life and we move on.'"
The Fast Show panel claimed that panel shows are crowding out other types of comedy - is that true?
"I think things have their moment - they come in waves. The sketch comedy wave was big and made a lot of people's careers, and made a lot of people very, very wealthy, and I think they should be pleased about that.
"I get a little bit worried when comics start saying that one thing is spoiling it for everyone else. If you think panel shows are genuinely spoiling comedy or making it hard - produce a really good sketch show, and you'll be surprised at how many TV companies jump on it.
John Thompson also claimed that panel shows are a 'closed shop' for comics with certain agencies - is that unfair?
"It's not an accident that certain comedy agencies have a lot of great comics on their books. If a producer goes to them, 'I'm producing this new panel show, can I have Sean Lock or any decent comic?', they're told: 'Yeah, you can - you know we've also got...' In one phone call, they can book almost half a series.
"It's not a closed shop, it's a business. You've got to be very careful about pointing the finger at any single company. The reason all those acts come from that single company is because that company gets all the best, talented acts because it looks after them the best.
"That's just business. I really get worried when comedians start trying to say that all we are is entertainers. We're not. We're in show business, that's why it's called show business. Someone has to do the business and a good businessman will have the best people on his books."
There was a bit of attention when you did your Nigerian accent on Mock the Week - are people too hung up on stuff like that?
"I think there's just a knee-jerk reaction to any accent on TV because people straight away hear Mind Your Language or Benny Hill or something and think we're going back to the 1970s. What I hope is that people are grown up enough now to know that my schoolteacher, Mr Thompson was from Nigeria and that was his accent.
"I'm not being disrespectful or racist in repeating his accent. I'm just repeating his accent. Can we all be grown up enough now to say that's how he spoke? If you're all hearing is 'he must be a racist because he spoke in a Nigerian accent', you're wrong.
"Let's have a grown-up approach. If I was to jump up and down every time I heard a cockney accent used to more or less imply that someone was thick and feckless, I could complain every single day of the week."
Micky Flanagan's debut DVD The 'Out Out' Tour - Live is available now