Liverpool Sound and Vision Rating 9/10

Cast: Tom Walker, Lucy Pearman, Aqib Khan, Nick Revell, Adam Byron, Laura Shavin, Daniel Abelson, Srah Gabriel, Ed Kerr, Dermot O’Leary, Ed Kerr, Willow Bennison, Izzy Hollewand, Emily Houghton.

The audience and the listener alike could be forgiven for thinking that the second series of Call Jonathan Pie would be toned down, it might spare the rod of absolute indignation from the words and attitude of the former news correspondent…and yet why would Tom Walker as the eponymous Jonathan Pie do such a thing, why would he be instructed to give way on opinions that his comic creation holds, for in no short measure does the second series deviate from the brilliance to which he has given the now late night radio host on the B.B.C. his voice.

‘Angry man radio’ has its place, callers of all ideologies and races, sexual identities and theories have the chance to have their say and rant to a presenter who acts as kind of devilish Solomon, dispensing judgement at will depending who can grab the ratings by the collars and come out with most outrageous opinion on the day. It has its place, the late-night adult creche for the insomniac and the dutifully armed with attitude must have somewhere to go as they see in the dawn, but it doesn’t make it palatable, and in fine fashion Tom Walker exploits the genre with precision.

The world’s problems are political fodder for the character, and the foursome who make up the unnatural family like structure, producer Jules, Sam the technical wizard, and Roger the laid back patriarchal figure forever obsessing over his possible investiture/retirement/in the background, and those interlopers of their inner sanctum who want to pass on their pearls of wisdom often dressed in the clothes of insane belief.

The eight-episode series continue in style, and it is perhaps in the flare-up of Diversity Training that the highlight shines with honour. As the presenter, the technician and the producer are forced to have their yearly exercise in sensitivity education, so the inner cynic is unleashed, and it could be argued that as always Jonathan Pie has a point, that the way the world obliges its opinion against the grain, demanding when it should lead through persuasion is enjoyable a listen as anything you could find.

Call Jonathan Pie may lack the nuance of the live performances of the character, but its execution is to be admired, the rage against the seething machine and its bluster is palpable and perfectly framed.

Ian D. Hall