Latest Radio/Audio Jobs

Here is my selection of the latest vacancies across radio in the UK and abroad.

Let me know if you would like to apply as I can help improve your CV and application. Check the mentoring section here for some amazing feedback from clients.

Political Editor for talkRADIO:

Producer at Apple’s Beats 1:

Audio Production Assistant for Fun Kids:

Product Manager with Global (voice activated devices):

Radio Station Presenters at CitiSport in London:

Content Director at Arabian Radio Network in Dubai:

Broadcast Journalist at 3FM in the Isle of Man:

Manager for Channel Islands Radio Stations at Tindle:

XS Manchester looking for an Evening Presenter:

Lecturer in Media at Bedford College:


Executive Producer Audio Content for Random House: CD: 18/02

Producer for Heart network in London (weekends): CD: 18/02

Lecturer in Radio/Audio Production University of Salford: CD: 18/02

Sports News correspondent for BBC Wales: CD: 19/02

Creative Producer with BBC Radio Wales: CD: 21/02

Head of Content at Radio Works: CD: 22/02

Presenter at Sunrise in Hounslow: CD: 22/02

Freelance Reader & Reporter for Free Radio: CD: 23/02

Breakfast Editor with Radio News Hub in Leeds: CD: 23/02

Freelance Broadcast Journalist Revolution in Manchester: CD: 24/02

Journalist (x3) opportunities with BBC Radio Guernsey: CD: 25/02

Freelance Presenters at Sandgrounder Radio Southport: CD: 25/02

Producer (Factual) for TBI Media: CD: 28/02

Presenter for Channel 4 Radio in the UAE: CD: 01/03

Freelance Broadcast Journalist at Radio Essex: CD: 02/03

Broadcast and Digital Journalist at Radio Essex: CD: 02/03

Imaging Producer at Wise Buddah: CD: 04/03

Work Experience Opportunities in Salford within Radio: CD: 06/03

Work Experience Opportunities in London – Radio: CD: 06/03

BBC Scotland Work Experience – Over 18 – Radio Q2: CD: 06/03

Freelance Creative Writer/Producer for Wireless Group: CD: 16/03

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Latest TV/Video Jobs

Here is my selection of the best vacancies across TV in production and journalism, plus video opportunities too.

Let me know if you would like to apply as I can help improve your CV and application. Check the mentoring section above for some amazing feedback from clients:

Content Editors at ITV News (Talent Pool):

Freelance Digital Journalist at ITV (freelance):

Assistant Video Producers at The Guardian:

Journalist / Presenter with Islam Channel:

Video Editor at Islam Channel:

Associate Producer for CNN:

Assistant Producer at CNBC:

Digital Sports Producer with Turner in London:

Reporter / Producer with Reuters:

Freelance Editor for ESPN F1 (Formula One):

Opportunities across the UK by That’s TV:


Business Affairs Assistant with BBC: CD: 11/02

Researcher at BBC3: CD: 12/02

Planning Producer for CNN: CD: 12/02

Video Journalist with STV in Inverness: CD: 13/02

Production Co-ordinator for Question of Sport: CD: 13/02

Assistant Producer for A Question of Sport: CD: 13/02

Researcher for The One Show: CD: 13/02

Archive Assistant at BT Sport: CD: 14/02

Journalist with BBC Africa in London (BBC Dira ya Dunia TV):  CD: 14/02

Production Assistant at Sky Sports: CD: 15/02

Programme & Digital Editor at ITV in Carlisle: CD: 16/02

Sports Reporter ITV News West Country: CD: 16/02

Broadcast Journalist (x2) – Wales Today: CD: 16/02

Assistant Producer at European Tour Productions (Golf): CD: 16/02

Video Editor for Comic Relief in Vauxhall: CD: 16/02

Lecturer in Media and Camera Production at University of Salford : CD: 18/02

Sports News Correspondent for BBC Wales: CD: 19/02#

Senior Broadcast Journalist for BBC News NI in Belfast: CD: 20/02

Sky News Political Correspondent: CD: 21/02

Social Media and Video Producer at RTTV: CD: 21/02

Editorial Assistant with Sky News in Westminster: CD: 22/02

Technology Correspondent for Sky News: CD: 22/02

On Screen Journalist with ITV in Belfast: CD: 23/02

Production Journalist with UTV in Belfast: CD: 23/02

Content Editor (Producing) with UTV in Belfast: CD: 23/02

Multimedia Journalist for Property Week: CD: 23/02

Digital Producer for Australian Broadcasting Corporation in London : CD: 24/02

Senior Producer with TRT in Istanbul: CD: 25/02

Output Producer with TRT in Istanbul: CD: 25/02

Deputy Programme Editor at TRT World: CD: 26/02

Interview Producer at TRT World: CD: 27/02

Senior Researcher with TRT World in Istanbul: CD: 28/02

Freelance Journalist for Euronews (Lyon / Brussels): CD: 08/03

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Knowing your sport – it’s not just a hobby for a newsreader

TMS window at Lord’s

Reading a very insightful blog about radio news recently there was a reference to sport coverage and that the writer would treat this separately. It’s not unusual to have different rules or advice for covering sport and what we deem ‘normal’ news. However, over the years I have noticed a propensity for news journalists to rather easily dismiss the world of sport. I have often been told ‘I don’t really understand sport’ with the inference they won’t have to worry about it. It’s not with pride they say it but nevertheless they are not shy to admit it.

Imagine though if I said the same thing about politics. Would it be acceptable for me to dismiss every story from Westminster just because I don’t understand or care about it? Of course not. What if I said that about crime stories? My role as a journalist – and particularly one that works in radio – is to embrace all news. That includes everything. So not just current affairs but sport as well. Entertainment often gets treated in the same way. Easily dismissed as gossip rather than news. But big showbiz stories need the same respect as ‘hard news’. Likewise big sport stories.

If you are working in a newsroom where sport will be significant, you need to make even more of an effort to embrace it. When I worked at Fox FM in the 1990s, Formula One was of huge importance because Silverstone was in the area, as were a number of the teams’ headquarters. Often a journalist would join the radio station and know nothing about F1. But it was their job to research it, perhaps watch it and try to understand it. I have always been interested in lots of sport and therefore have had to work harder at getting a grip on some other aspects of news. I would expect the same from journalists who feel more comfortable in the world of politics but have to also include sport in their bulletins.

Radio news can feel very transient as we read a few words and move on. But you still have to understand what you are saying and writing. You can be sure sports fans are more likely to notice (and then tell you via social media) if you say a team name or a player name wrong than people will pick up on someone saying Istanbul’s the capital of Turkey. In the 2018 multi platform newsroom environment it is not just different skills that we need to learn but also a broader subject area. One day you can be leading the news with a prime minister resigning but the next day with a football manager being sacked. News is news – and that includes sport.

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The Case of The Frightened Lady – Windsor Theatre Royal

So just who is the frightened lady of this Edgar Wallace thriller? In a way, just like the killer and the motives, that perhaps does not become clearer until the closing moments of this Roy Marsden directed play. Whether that’s deliberate or not is open to debate. Or perhaps the lady in question just doesn’t seem frightened enough. That’s part of my initial concerns with this production; I just wasn’t quite convinced by everyone.

There is a very strong cast, with Rula Lenska as the domineering Lady Lebanon and Gary O’Brien as the sleuthing Chief Superintendent Tanner, as well as the likes of Glenn Carter, Philip Lowrie and April Pearson. As the first stop on this UK tour, perhaps there are some rough edges to smooth but the air of mystery that Marsden was so expert in when performing as PD James’ Adam Dalgliesh is somehow missing.

Edgar Wallace was a prolific writer of these types of mysteries and is known as the creator of the modern thriller. Although I think ‘modern’ is now being kind. This is set in 1932 at the stately home of the Lebanon family, where power and wealth is celebrated but both have already corrupted. The play has that Agatha Christie feel and certainly appeals to an audience that like their thrillers on the safer side. A more ‘modern’ twist would treat this class commentary more edgily. But there are nice touches to underline how society was structured pre-Second World War.

We eventually become clear as to who the frightened lady is and perhaps more importantly, why. The wood getting clearer as the trees are slowly diminished; do not expect the first dead body to be the last. All this under the very watchful eye of Tanner, who seems to have open and 24 hour access to the Lebanon home. The pace is kept up with clever movement through the stage, with the actors seemingly stuck in revolving doors for the first half an hour. All this makes the play rather fun and despite those rough edges, an entertaining couple of hours.



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Classy radio that is continually underrated

In radio training a key acronym that I was taught and is still as pertinent two decades later is KISS; keep it simple stupid (or similar versions). The premise is obvious but often the best and most magical moments of radio are when things are kept to their simplest.

Back in October I attended the Arias, where the industry recognises some of that great radio from the past twelve months. Often the winners have just done the simple things well. Often though that is easier said than done. But a show that seems to always miss out on this kind of recognition is talkSPORT’s Hawksbee and Jacobs afternoon programme.

Paul Hawksbee and Andy Jacobs have been presenting on talkSPORT for almost 20 years, with a show that is always funny and engaging. But over the years, the quality of this programme has been disgracefully ignored by radio’s awards ceremonies. To keep making you laugh after all this time deserves great credit to Paul and Andy obviously, but also the various teams that have worked with them. Sometimes a little freshen up has been needed but the fundamentals have stayed the same.

And what does that mean? Well radio works best when you connect and to do that you have to be yourself. Paul and Andy have great chemistry. Like many successful duos in entertainment, their personalities dovetail perfectly. Paul is the quick witted one, while Andy plays the curmudgeon brilliantly (we know he’s not playing). The opening ten minutes of each show are always a giggle.

There is also the right amount of piss taking, bringing me to the much loved ‘clips of the week’ they do every Friday. I’ve written before about how commercial radio can often do things the BBC can’t. And this is a perfect example. Clips of the Week is a selection of newsreader gaffs, sport reporter mistakes and largely Alan Brazil or Mike Parry mispronunciations (Fishermen’s Blues is also a regular nominee). It’s always hilarious. Taking yourself too seriously is sadly an art form at the BBC and many presenters and shows would be better off for having the ability to laugh at yourself.

At the BBC can you imagine a programme collecting on air mess ups by the star names? There’d be a BBC policy paper detailing the outrage and unions would demand respect for the ‘talent’. At talkSPORT it’s received as it should; with the ability to laugh at yourself. It’s a favourite feature of my wife who falls well outside the target audience for the station. In fact she enjoys the whole show. As she put it herself, they don’t always talk about football but when they do it doesn’t have that familiar footy banter feel that can exclude people. The guests are often interestingly different and embrace the show’s style and humour.

And this brings me back to that acronym, KISS. Keeping things simple in radio is imperative, but that doesn’t mean taking no risks or being bland. And simple does not mean avoiding being clever or creative. Just remember not to over complicate and understand the audience and your talents’ best skills. Hawksbee and Jacobs have delivered quality radio based on this for two decades and deserve wider recognition for that. The categories at awards like the Arias (the Sonys as was) does not help but had this been a BBC show you can be sure the plaudits would be queuing up and the awards mounting up!

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Why changing local BBC’s audience targeting might be a mistake


When Tony Hall spoke to staff at BBC local radio recently outlining how the Corporation will change its focus for the stations, there were some encouraging thoughts. Value seemed to be attributed to the network despite previous indications the BBC felt it was just a drain on resources.

A broadening of the audience was established – making BBC local radio for all. A fine idea and not without merit. The commercial sector has increasingly deserted local programming to save money, leaving a gap for the BBC to exploit or community stations to try and fill. There is an audience there and it makes sense to try and serve it.

But the audience I feel it should focus on is the 40 and over; this is the generation that is attuned to traditional radio and constantly ignored by most commercial brands. Widening the remit to younger listeners is a fine intention but hard to get right and harder to achieve. Trying to be something to everyone inevitably ends up being something to no one.

On top of this changing audience and changing content, local BBC stations need to become more of an exhilarating place to work. Not filled with lifetime jobbers and empire builders but younger, hungrier talent that needs to use the platform to hone their skills before a national progression. It is true this does happen at the better local stations (often those in bigger towns or cities with a real ‘identity’) but in many there are people grazing or worse. Too many shows are done by ‘names’ or people that have been there too long.

Tony Hall’s speech is encouraging and there is now a real hope that staff across the local network may feel more valued. The direction it takes though needs to be chosen carefully. There is a growing older audience which would appreciate being served by a strong local radio brand. I think this is where the BBC should spend our money. It should invest in areas the commercial sector will no longer go. I hope it does.

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Knowing When To Quit Is Never Easy

TMS window at Lord’s

In the last few weeks two ‘legends’ of sport commentary have either retired or announced they’re about to; or as the journalist cliche goes, they are ‘hanging up their microphones’. So farewell it will be to John Motson, who’s leaving us at the end of this football season and there was a goodbye to Henry Blofeld at Lord’s in that final test against the West Indies.  I was touched by the reception Blowers got as he completed his last commentary slot, with the crowd at Lord’s breaking out into applause (to the confusion of the players on the field).

This reception says a lot about Blowers, the affection in which Test Match Special is held and also the nature of cricket fans. Supporters of cricket, and the test format in particular, are a unique brand of sports fans. They treasure everything that makes the long form of the sport great and that includes someone like Blofeld. His fascination with buses and birds was a part of the TMS fabric as much as the cricket itself. I know many listeners to TMS that don’t even like cricket. It is as quintessentially English as afternoon tea or rain on a summer’s day, and his chitter chatter was a special ingredient.

But I have a confession. In recent years, whenever Blofeld would take over the microphone, I would have to switch off. I became frustrated at the slightly bumbling nature of the commentary. Fielders and batsman would be mis-named and important moments would get lost. This brings me to fellow retiree John Motson. He too has been guilty in the latter years of his career of making a few mistakes and not being quite as ‘on it’. What has also happened in both cases is that they have become caricatures of themselves. Motson’s statistics would become what defined him, along with that weird chuckle. Blofeld’s watching of planes, trains and cranes began to dominate his commentary.

I have never been a huge fan of Motson, but he was undoubtedly groundbreaking with his research about teams, in the era before a quick Google would answer most questions. His passion for the game was also evident, as with Blofeld, and I think that’s why both have lasted so long. But when do you decide to quit? Blowers is nearing his 78th birthday, while Motson is 72; ages at which most of us will hope to have been long retired. I am not necessarily being ageist and saying they couldn’t do the job, but almost certainly younger people coming through can now do it better. TMS is littered with classy broadcasters who have moved commentary on from the era of Blowers.

Motson says he knew when to quit and I respect him for that but I felt he lost his mojo some years ago. He has sounded ‘old’ to me for sometime. On the other hand Sky Sports’ Martin Tyler is only a year younger but does not sound 71 years’ old. Soon though he may too decide that it’s time to go before he’s pushed. That’s where broadcasters need to be brave and make changes before the quality is lost. Peter Alliss still appears on the golf coverage on the BBC, in his mid 80s. But he sounds out of date and of a different era. No longer is his voice a soothing piece of nostalgia. He just sounds old.

All these voices have their time and we hold them in a special place, partly because of the moments they are fortunate to commentate on – pieces of history – but there is also a point when they begin to tire. Knowing when to quit is never easy and I respect Blofeld and Motson for their decisions to walk away when others would have carried on. But, my dear old friend, they have both had a good (career) innings.

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The Simon & Garfunkel Story – Lyric Theatre

As someone rightly points out during the interval, “you can’t really go wrong with these songs”. And while that’s true, there always has to be something a little more than the music for shows like these to work. Mamma Mia needs the fun and frolics and We Will Rock You needs the powerful and dramatic staging. So success is not always guaranteed, despite the music.

Back in the West End for the first time in two years, The Simon & Garfunkel Story takes us on a journey from the duo’s beginnings to the extraordinary comeback concert in New York’s Central Park. The way this is done is through short narrative sections from the singers themselves, sprinkled among the cannon of classic hits. There are also videos from the era, with a great sequence leading into Mrs Robinson, where we see a scene from the 1967 film The Graduate, which the song was written for. The clips are sometimes slightly random, as we get a glimpse of a Cadbury’s Flake advert alongside the odd snippet from JFK and Martin Luther King.

The songs are of course key and the band are terrific. They are however tightly squeezed in tonight, with props from the previous show here seemingly still on the stage. The second half sees a brass section join the bass, guitar and drummer too – and those poor guys are left behind a glass screen for some peculiar reason. Adam Smith on keyboards and lead guitar is excellent, but placing the video screen right above drummer Mat Swales doesn’t really work, as it causes the video to move from time to time.

Sam O’Hanlon is Paul and Charles Blyth is Art and they perform the likes of the Boxer, Sound of Silence and Bridge Over Troubled Water with style. Their voices are not too dissimilar to the originals without sounding like a cheap imitation. Where the show falters is with those spoken sections. O’Hanlon’s energy is contrasted by Blyth’s seeming nervousness. He doesn’t appear comfortable; but is he playing the part or still finding his feet on this London stage? O’Hanlon is also just a touch too cheesy and you really want them to get on with the songs. A separate narrator, if it’s needed at all, would have been better.

Overall The Simon & Garfunkel Story falls somewhere between a tribute band show and a musical. A fine touring production, it perhaps needs another spark to lift it to the level of the West End. Having said that, the show wasn’t greeted with a sound of silence but by raucous cheers from many, most of whom left the venue smiling.




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S-Town – An emotional rollercoaster; radio at its very best

At the end of the final episode of S-Town, presenter Brian Reed thanks what he calls ‘the best podcast team in the world’. Over statement? Probably not. From the makers of Serial, S-Town is a superb piece of radio storytelling that breaks and warms your heart in equal measure. Laugh out loud funny at times, the story takes dramatic and poignant twists, right until the final few seconds and a wonderfully written reveal. Radio really doesn’t get better than this.

There are technical and journalistic reasons why this is so good. Let’s look at the technical aspect first. S-Town begins very differently to Serial. Firstly, it is Reed presenting and not Sarah Koenig. While the script has all the same hallmarks of This American Life and Serial, the tone is slightly different. Also, the star of this series is undoubtedly John B McLemore and not Reed. In Serial, despite the access to Adnan Syed in prison, Koenig was the star; placing herself at the heart of the narrative and her investigation. Reed plots and shapes the script in a similar way here, but you feel like you’re walking the path with him, not being led up it.

On episode one of S-Town you hear mostly from John B. Although his southern drawl initially grates, you begin to warm to an extraordinary character. You soon form a remarkable attachment to John B. It makes these seven episodes some of the most emotional moments of radio I have ever experienced. At times the storytelling is like the best of literature; transporting you to another place. Sometimes it feels like a different time too, like the previous century. And time plays a crucial role as the story unfolds; from John B’s work as an horologist to his insistence that his home is on a different time zone than the local town.

When Reed first visits John B, he is shown a maze in the grounds of their house, made and designed by John B himself. The imagery and production in these ten minutes is terrific. It is a perfect example of clever scripting and powerful audio production and it magically transports you in a way visual media cannot.

When listening, images from the first series of TV’s True Detective came to mind, with vast open spaces of nothing and people that rarely, if ever, travel beyond their hometown. Like True Detective, music is also key. The backing tracks are cleverly chosen, to match mood and environment and the final closing song from The Zombies has a poignant connection to the story.

Away from the production, there are moral and political questions to explore. The moral concerns are genuine – but I do not want to discuss them here, as this gives away the story. My love of the podcast shows where I stand on that issue anyway.

As for the political issues raised, I lazily fell into the trap of discovering the characters and residents of Shittown Alabama (or Woodstock as it’s officially known) and thought these are the sort of people that made Donald Trump US President. There are those people that are openly racist and even a company with a name that has an unapologetic nod to the Ku Klux Klan. But dig deeper and you find there is a heart to the place. People that really care for each other. Brian Reed avoids judgement – or if he gets close to it – admits he might be wrong.

As Koenig put it herself, Serial was a ‘Shakespearean mash up’ that had the perfect ingredients for a classic murder story. S Town doesn’t have that same mystery and intrigue, but it makes you think and reflect more. This added depth I describe made S-Town far more rewarding to listen to. The story has a real arc. A beginning, a middle and an end, carefully plotted and beautifully told. Where Serial was the Smells Like Teen Spirit of podcasts, lifting the medium into the mainstream, S-Town might just be the Stairway To Heaven. It’s set to become a classic of its genre. 

Radio is all about connection and engaging an audience. When done as well as this, it really is wonderful. You might listen and not connect to it the same way as I did, but you’ll certainly admire the work that must have been put in. Ultimately S-Town is about judging; challenging our perceptions and avoiding leaping to a conclusion about people. But it is also about a relationship. Not like the teenage love story at the heart of Serial, but the special bond forged by Reed and John B. This is quality journalism from a presenter who genuinely cares and it is all the more powerful as a consequence.

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Bruce Forsyth – nice to lead with, to lead with nice

As a radio journalist I have witnessed and taken part in some furious debates over the years about what to lead a bulletin with. However, there is often more than one right answer. I often tell students that there can be several stories you could lead with, depending on the station’s style and audience. Whether it felt right at the time is the best judgement; you cannot use hindsight to then say the choice was wrong.

On an overnight shift recently I was alone in a radio newsroom when pictures started coming in of the Grenfell Tower fire. At first I wasn’t sure how big the story was and only had the news channels (with Sky and BBC often going to pre-recorded content between 2 and 4am) and Twitter as a guide for how serious the story was. I had a 4am ten minute bulletin that had a lead story in place. But I felt the fire ought to lead – albeit with limited information and content as a breaking story. By 5am it was clear this story was going to be huge and I was glad I made the right call.

Instinct and gut was what led to my decision then and it was the same thing when news broke of Bruce Forsyth’s death. I was on Forces Radio/BFBS, where we had a very strong military story as our lead followed by the emerging details about the Barcelona terror attack 24 hours earlier. I decided that the programme should start with teases to the other stories then after the introduction the newsreader should say ‘but first, in the last hour the death of Bruce Forsyth has been announced’.

We had a one minute obit quickly mixed and edited and it sounded great and the running order felt right. Later that day I was interested to see Adam Boulton of Sky News tweeting that the BBC were wrong to lead the 10pm news bulletin with Bruce Forsyth. I respect his opinion but I was not surprised by the BBC’s decision or think it wrong. In fact the package and report about his career made me smile and was a good celebration of his impressive career. Perhaps it was refreshing to have something lighter at the top.

It is also slightly rich of Adam Boulton to be criticising the BBC for its lead story when Sky News can make dubious calls too. They also spend hours saying a story is ‘breaking news’ when it stopped being breaking sometime before. I know why they do it and understand. The same goes for the BBC. I know why they led with Bruce and completely understand the decision. I happen to think it was the right one.

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