Check out the latest event tenders and news of contract wins
12 OVER THE MOON
Cath Dupuy’s image of an inflatable moon installation eclipsed all the entries at the Event Photography Awards
15 MIGHTY MEGA
In 2024, Mega Events sold 536,000 tickets, generating more than £24 million in revenue. While some events struggle to sell tickets, Mega Event’s founder Nathan Reed discusses why his company is bucking the trend with concept-driven events and scalable production
19
PICKING UP THE PACE
The mass participation events market continues to grow. Here, event owners, organisers and operations professionals discuss business challenges, event developments, and what’s new
31 IN FULL FLOW
Water is essential to any event or festival site. Organisers discuss their temporary event water supply plans for 2025
34 DRIVING FORCE
This year, Salon Privé will celebrate its 20th anniversary. Read on, as co-founder David Bagley reflects on 20 years and the drive of his life
39 ON THE ROAD
StandOut shines a light on experiential campaigns and activities that featured a promotional vehicle or branded trailer at their heart
42 HOME IMPROVEMENTS
Media 10’s Giles Perry on the 117th edition of the Ideal Home Show, including changes for 2025 and what the future holds for the brand
47 REACHING NEW HEIGHTS
Lasers. Drones. Fireworks. Organisers want to wow their guests with visually spectacular effects. StandOut looks at new products, trends, and what it takes to deliver “magical” events
53 CAN YOU SPOT YOURSELF?
Team StandOut has been on the road with the camera, visiting industry events up and down the country. Can you spot yourself, or a fellow events professional, in our picture gallery?
15 MIGHTY MEGA
47 REACHING NEW HEIGHTS
42 HOME IMPROVEMENTS
19 PICKING UP THE PACE
34 DRIVING FORCE
MARCH 2025
he other day, a freelancer told me they had messaged their client about a rate change. They had increased their rates in line with inflation – by three per cent. The organiser told them they would get back to them.
I appreciate it’s tough out there and every penny is being scrutinised, but three per cent?
Compared to production costs, which have seen astronomical rises, are things so bad that we’re haggling over single-digit percentages?
Whilst I hope it’s not a sign of things to come, I fear it could be the reality. But who is going to come out on top? Will it be the organiser who says this is what I am willing to pay, take it or leave it? Will it be the supplier who says this is the price, now pay it? Or will it be the freelancer, willing to fight for three per cent because they know they are worth every penny?
What do you think? If the entire events eco-system is not willing to consider each other, who risks paying a higher price because someone has decided to go for the cheaper option?
If you have an opinion on 2025 and how you believe the year will pan out, I’d love you to drop me a line. It can be about your predictions for 2025, the events you are contracted to work on, new operational developments on-site, tweaks to your event management processes, or anything related to the business of working in and running events.
Whether you’re a promoter, organiser, event owner, supplier, operations professional, or freelancer, get in touch. I don’t care whether you work in a senior role or have just started working in our amazing industry; everyone’s opinion is valid and welcome, and I appreciate anyone who spares the time to share their thoughts and learnings.
Please follow me on LinkedIn, connect with me, and invite me to your event sites so I can take a look during the build. I have my own hi-vis, hard hat and steelies and my idea of a perfect morning is saying hi to event teams and contractors, and clambering over scaffolding. So if you think your event deserves a moment in the spotlight, but more importantly, other event professionals would find what you’ve got to say interesting, I want to hear from you. I am working on my 2025 diary now, confirming events for the summer and beyond, so please let me know what you’re up to and if your event is right up StandOut’s straße, I’ll bring the biscuits and if you’re lucky, I might even bake a lemon drizzle cake.
Hope to catch you soon.
Happy reading,
Caroline
Cover image: London Marathon Events/Thomas Lovelock
This month’s
CONTRIBUTORS:
NATHAN REED
Nathan is the founder and director of Mega Events, the company responsible for delivering Silent Discos in Incredible Places, the Illuminated Orchestra and Mega’s biggest success to date, The Rock Orchestra. In 2024, Mega Events sold 536,000 tickets and generated more than £24 million in revenue. Against a backdrop that is seeing events and festivals cancel left, right and centre, how is Mega Events bucking the trend? Nathan discusses business growth, ticket sales, and why he believes in conceptdriven and scalable production.
DICCON LOY
Diccon is a mass participation sports expert with more than 20 years industry experience. An innovator who works with brands, rights holders and charities to create and deliver compelling, engaging participation sports events, Diccon believes in the power of participation sport to deliver objectives for brand and charity clients. He founded Participation Sport in 2017, which combines event consultancy with its own mass participation events portfolio.
Diccon has personally created/ co-created many event properties including Marathon Swims, Original Marathon, Swim the Night, London 100, and Ultra London. In this issue, he discusses the challenges being faced by mass participation event organisers and the essentials for creating successful “micro” participation events.
GILES PERRY
Giles is home interest divisional director at Media 10 and is responsible for delivering large-scale consumer events, including the Ideal Home Show and The Cake and Bake Show. This month, Giles talks to StandOut about the 117th edition of the Ideal Home Show. From lessons learned and upcoming event developments to current business challenges and future plans for the home interest portfolio.
LIVE EVENTS & SAFETY MANAGEMENT
Jasmine Hill is the new event director at British Marine’s Southampton International Boat Show.
Paul Ashurst is the new business director at Project 30.
The Scottish Event Campus has appointed Dominic McKay as chief executive.
Jane Brown is operations director at Identity.
Philip Hindes is now national account manager (events) at Sunbelt Rentals UK and Ireland.
The Commercial Vehicle Show has appointed Susan Sogaard Kitchener as events and operations manager.
Paul Dunstan, the former operations director of the Ryder Cup (Europe), is now director of events at Golf Saudi.
Peter Dutton is managing director of Wacker Global Events.
James Kitto is the new operations director at Bristol Beacon.
Michael Jarman was crowned the winner of the Microsoft Excel World Championship (MEWC) when it was held at the HyperX Arena in Las Vegas last month. The venue’s production team worked with MEWC’s organisers to produce the event, which saw 12 people run through a hype tunnel before taking to the stage to compete for the title and $5,000. Competitors have to find solutions to tricky puzzles using Excel before they are named king of the spreadsheet.
LINKEDIN POST OF THE MONTH
Mark Breen, director, Safe Events
We fired a client. It was one of my best days running a business. To be able to pull out the contract, see how we could serve notice of wanting out, and knowing we’d be better off once out of it.
Amazing day. We didn’t enjoy working with them. We didn’t enjoy seeing their names pop up on our phone. We didn’t do business the same way. As my wife saysthey weren’t our people.
Recently, a colleague from another event company described them as “a good bunch of people”. We are not for everyone. Every client is not for us. It’s not about right or wrong. Or good or bad. It’s simply lids for pots. We weren’t right for them but other companies will be.
#EventSafety #Eventprofs #CrowdSafety
NEWS IN BRIEF
The Purple Guide has updated the chapter dedicated to catering at events and has also added new chapters concerning the safe use of mobile LPG and equality, diversity, and inclusion in outdoor events.
Vision: 2025 has changed its name to Vision for Sustainable Events.
The second annual Safer Crowds, Safer Venues conference will take place
Supplying the event industry with Traffic Management Parking Solutions Signage ANPR Admissions
Campsite White Lining
See how ETC can help your events in 2025 with all your traffic and parking needs www.eventtc.com
Tender time
Looking for new business? Discover the latest event tenders and business development opportunities up for grabs. Plus, there’s news of contract wins
ACC Liverpool has issued a tender for event security and stewarding services. The deadline is 10am on March 3. Email graham.radcliffe@accliverpool.com
Unique Assembly has won a £3.2 million tender with the City of Edinburgh Council to provide event services to Edinburgh’s Winter Festivals (Edinburgh’s Hogmanay Festival and Edinburgh’s Christmas).
NEC Group has awarded Hollywood Monster, the wide format print and signage specialist, preferred partner status. Exhibitors and customers at the NEC can now use Hollywood Monster’s expertise for all printing when exhibiting at any of the group’s venues.
Edgbaston has signed a new long-term contract with Fordhall Farm Event Caterers to be the stadium’s official concession management company. The deal will see Fordhall Farm Event Caterers supply more than 50 street food-style units around Edgbaston during Vitality Blast games, Blast Finals Day, and international matches.
Aztec Event Services is Excel London’s official exhibition AV partner.
London Stadium is looking to create a framework for stewards for events. This tender is divided into lots: Crowd safety services, hospitality, stewarding dog teams and traffic management. The closing date for this tender is midnight on March 31. Email procurement@londonstadium185.com
InterTradeIreland requires a supplier to provide event management services and to support the delivery of its programme of events in both Northern Ireland and Ireland. The deadline is 3pm on March 5. Email SSDAdmin.CPD@finance-ni.gov.uk
Loughborough University requires medical services provision for sporting events. The deadline for this tender – worth £360,000 – is 12pm on March 28. Email Hussain Dakri – h.dakri@lboro.ac.uk
Chesterfield Borough Council requires a contractor to organise and manage its annual Christmas Lights Switch On event. The deadline for this tender – worth £90,000 – is 12pm on March 17. Interested? Email alex.jagger@chesterfield.gov.uk
FORDHALL FARM EVENT CATERERS
Over the moon
Cath Dupuy’s image of an inflatable moon installation eclipsed all the entries at the Event Photography Awards
ath Dupuy’s photograph of Luke Jerram’s Museum of the Moon installation at The Painted Hall, Greenwich, won the top accolade at the Event Photography Awards (EPA) “Best Ever” contest.
Dupuy’s winning image – called Lunar Reflection – was crowned the Overall Winner at an evening reception held at the City of London’s renovated Skinners Hall, now rebranded 8½ London.
The special Best Ever event was created to mark the 10th anniversary of the awards, which were founded by Philip Atkins, CEO of Off to Work, to celebrate the importance of great event photography.
LUNAR REFLECTION
The contest – which celebrates professional and amateur photographers – saw ten previous EPA Overall Winner images qualify for the final alongside the winners of 15 Best Ever categories. The images were judged through an online system that attracted votes from 4,000 event industry professionals from more than 40 countries across the globe.
Dupuy’s winning shot shows Jerram’s inflatable moon installation reflected in a glass-topped table at the London venue.
Entries for the Event Photography Awards 2025 are now open and must be submitted before March 31. For more details, visit www.eventphotographyawards.com
In 2024, Mega Events sold 536,000 tickets, generating more than £24 million in revenue. Whilst some events are struggling to sell tickets, Mega Events’ founder Nathan Reed discusses why his company is bucking the trend with concept-driven events and scalable production
ILLUMINATED ORCHESTRA
The last time we spoke, we had a portfolio with some ‘exotic’ products in it,” recalls Nathan Reed, founder of Mega Events, an independent promoter and conceptual events company. Indeed, it has been two years since StandOut sat down with Reed to talk about business. A lot has happened since that post-COVID chat where promoters were eager to get back out there. Much has also happened since Reed delivered the “exotic” events he describes, such as Spring Break Amsterdam.
Despite the two-year gap since our last conversation, thankfully, Mega Events’ story is one of positivity. It is bucking the trend amongst a depressing backdrop of event cancellations and continues to devise, build, market, and execute event concepts, putting them through rigorous testing before turning them into hugely successful touring brands.
For example, in 2017, Mega Events sold 250,000 tickets, doubling sales two years in a row. In 2018, Reed expected to double growth and predicted turnover in excess of £8 million. In 2024, Mega Events sold 536,000 tickets and generated more than £24 million in revenue, and today, Mega Events is the biggest promoter on Eventbrite outside of America, and the company is forecast to touch revenues of £31 million by the end of 2025. Ambition doesn’t even begin to cover it, and even bigger growth is forecast over the next five to ten years.
COMPELLING
“You know, it’s hard to see too far into the future, but each juncture, it feels apparent what we need to do to make the next thing happen,” explains Reed on a grey Monday lunchtime.
The secret to Mega Events’ success is its ability to identify ultra-high demand concepts. That are scalable, affordable and have “ultracompelling conversion rates”.
“Throughout the history of the company, we’ve trialled hundreds of different concepts to land on three or four that are capable of doing 100 to 200 shows a year (across the world) and that have a 90 to 95 per cent sell out rate,” says Reed.
It might sound expensive, but Reed assures StandOut that it’s not as expensive as latching on to an idea and dogmatically pushing it, even though it may not be the right thing for the market.
“I see promoters doing that all day long,” he continues. “They come up with a concept that they’re emotionally wedded to, but they haven’t surveyed the market properly. They will keep pushing that show year after year, even if it’s extremely difficult. That’s human nature. But we don’t do that. If it’s not extremely easy to sell or extremely compelling, we drop it and search for something that is.”
WET TUESDAY IN SWINDON
If you think you’ve not heard of Mega Events,
you will have. Mega’s biggest success to date is The Rock Orchestra, which was launched in 2020 during the pandemic. It has become a touring sensation, fusing rock music with the grandeur of classical, complete with a giant, head-banging skull puppet. Also within Mega’s stable is Silent Discos in Incredible Places and the Illuminated Orchestra. Plus, it has launched new shows called The Princess Proms and Ultraviolet Orchestra.
What all these products have in common is their self-descriptive names. It enables someone to read the title, see the artwork and entice them to buy a ticket even though they may have never heard of it before.
It’s creating something that will encourage people to buy a ticket to a show on a wet Tuesday night in Swindon.
MONOPOLY
Product identification is key to Reed. Then, it’s all about scalable distribution and a bit of intuition. He adds: “Sometimes we think we’ve come up with something brilliant, and we’re like, this is going to be so great. We build the whole show in our minds, and then the data just says, No, it’s not good enough.
“Following trends can also be quite dangerous. I’ll use country music as an example. It had a huge revival in the last year. There were probably ten to 12 touring shows, and all of them did badly, and unfortunately, I saw a lot of them drop out.
There are a lot of parts of the market that are far less competitive. We are looking to find clear shots at things. We want to know that we’re not approaching a highly saturated part of the market. And we want to know if there’s any monopolistic potential.
“Silent Discos in Incredible Places is a really good example,” he comments further. “There’s probably one venue in each city where it works. Because if you try and run a silent disco in an average venue, nobody’s interested. But if you go to Wells, for example, there’s only one incredible venue in Wells, and that’s the cathedral. So as soon as you’re there and you’ve got that venue, you have a monopoly on that concept in that area, and that’s great business. So we’re looking for two things, either an under-served opportunity or a new opportunity that didn’t exist before that is possible because of some tech advancement or something like that.”
UNDER-SERVED REGIONS
Reed is open about how well the business is doing. Currently, many of the shows it is producing are on a sell-out trajectory. Now, he and his 30-strong in-house team are looking at how far and wide they can take those shows. For instance, will they work through Europe, Australia, and New Zealand? It’s a big focus for Mega, proving up the distribution network before upping the ante on the testing processes so that it can identify
concepts faster. Reed continues: “I think a lot of the regions are under-served, and a large part of our business model is taking major city-centric content and events and taking them throughout the regions where there’s much less saturation and where people are much more excited when a new concept comes to town. Part of that is making sure that the price point is correct and it’s affordable.”
PRICING POWER
According to Reed, if you identify a strong enough product, you have what he calls pricing power. For instance, think about an Italian restaurant on the High Street. It has no pricing power. It has to price competitively because it’s offering a generic product. But if you have a unique product, you have pricing flexibility. That’s because there are not ten other people doing what you’re doing. You can more easily accommodate any adjustments and some headwinds or even things like government policy changes.
“I feel extremely fortunate,” Reed comments. “I don’t feel like we have been facing the same challenges as a lot of the rest of the market.
“I feel like production costs have gone up about 20 per cent and, yeah, it stings, but we have been able to accommodate that, and so it hasn’t ended up being a problem for us.
“I think we’re in the middle bracket, where people are happy to pay a slightly higher price for a special enough experience. We’re certainly not really cheap, and if we were more price sensitive, I think that would have been a bigger problem for us.
“If I had to say where we are facing any issues in particular, it would probably be the bidding environment on social media. Advertising is quite aggressive at the moment, and it means that you’re paying a lot for advertising. That is one thing that is a bit more of a painful hit for us because the way that social media advertising works is it’s a scale of diminishing returns. It means the more you spend, the less you get for your money. So when the bidding environment is
high, not only do you pay more advertising per ticket sale, but you do less sales.”
GROWING SENSIBLY
Mega Events only uses social media to advertise its shows. Most pre-summer shows are sold out, and Reed is currently focused on Q3 and Q4, working alongside an “extremely disciplined” team that’s feeling good about the year ahead.
“Mega has a lot of really experienced team members,” Reed says. “We’re excited. We’re not looking at 2025 with lots of trepidation. We’re just trying to grow sensibly.”
Reed believes in having the right infrastructure and foundations in place to grow safely. But he also believes that it’s important to be comfortable moving forward, not knowing all the answers.
“The cost of not making a decision and/or moving too slowly is higher,” he states. “You have to be dynamic, you’ve got to be able to attack when you need to, and to put your foot on the gas and double down on something when you believe that as far as you know, it’s the right decision.”
Reed explains: “But when you do identify the right concept and you qualify the demand for the product, that means that you can invest in it properly. And one of the things that I think is extremely frustrating for people that are creative event producers is that they have, like, a grandiose idea of what they would like to do, and then they try and take it to market, but the demand stops there, and then they have to compromise that vision again and again and again, and then you end up with something that you’re not happy with.
“If you start by identifying demand, firstly, you’re able to invest in your product properly, and you’re doing so many shows that you can iterate until you get it right,” Reed concludes. “We’re hell bent on our feedback forms and our star ratings and our data. And we’re constantly refining and refining until we do. But that’s the really enjoyable thing about working that way around. It allows us to craft really brilliant products.”
SILENT DISCOS IN INCREDIBLE PLACES
Picking up the pace
The mass participation events market continues to grow. Here, event owners, organisers and ops professionals discuss business challenges, event developments, and what’s new
he Abingdon Marathon is one of the oldest marathons in the UK. Established in 1982, it’s a popular event, attracting runners from around the country. However, it was an event with a diversity problem. The majority of entrants were male, and it had a reputation of being a fast, competitive race targeted at a small sub-section of the running community.
The race was originally set up as “a local marathon for runners irrespective of age, gender, or ability”. That ethos remained important to Nichola Poulton and Kate Brook, race directors, when planning the 2024 event, which took place last October. However, it did not stop them from reaching out to SheRACES to find out how they could boost female participation in the marathon and make it appealing to a more diverse field.
Sophie Power, founder of SheRACES, worked directly with Poulton and Brook to help implement the free-to-access SheRACES guidelines designed to help race directors support more female athletes and attract more women to participate in events.
The Abingdon Marathon race committee, which is 46 per cent female, was open to
making real changes that would help to boost the number of female participants in the event. The biggest change was the cut-off time [length of time that participants have to complete the marathon by]. This was changed from five hours to six hours, giving more runners the confidence to enter the event. Plus, the organising team increased the number of toilets available, provided period and incontinence products, ensured female marshals at all aid stations, published information on asking for space to breastfeed and had a clear pregnancy policy in place.
Like most things, change takes time, but there was significant improvement in 2024. In 2023, 741 athletes finished the race. Of these, 148 were women – less than 20 per cent of the field. Last year, the overall field increased and comprised 991 finishers – 246 were women. Almost a quarter of the field.
FEMALE LENS
SheRACES believes that races don’t have to change what they are and organisers don’t have to change the nature of their event. But
reviewing a race through a female lens can lead to increased female participation and greater inclusivity.
RunThrough has recently launched a Women’s Run Series with Lucy Wood as race director, and SheRACES has launched a series of trail running events specifically designed for women, in partnership with Ourea Events.
The SheRACES Trail Series – taking place in Guildford, Church Stretton, and Hathersage in the Peak District – will feature a femaleonly event team at registration and support points, female-only changing facilities at the start and finish, as well as period products in all toilets, and safeguarding and pregnancy/ IVF deferrals. These are seen as important but easy-to-implement measures that can increase inclusivity.
Recent research conducted by Fund Her Tri UK and SheRACES found that 79 per cent of triathletes who became pregnant while preparing for a triathlon lost out on at least one race entry due to pregnancy. Not surprisingly, 84 per cent of female triathletes would be more likely to enter races that committed to equitable and inclusive treatment for women.
SheRACES is currently working with tech platform RaceNation to ensure organisers have everything they need to create safer events. For example, safety concerns can be addressed with RaceNation’s checkpoint management and live location sharing tools, and when organisers use the platform, they can show participants they are SheRACES accredited at the point of booking. It is hoped that this will drive conversion and encourage more women to enter events and enjoy the atmosphere that is created by mass participation sport organisers.
According to Massive, the number of women signing up to take part in mass participation events is growing, and further research by RaceNation says that mass participation organisers should capitalise on growth opportunities in the 20-30 demographic and among women.
Jeanette Wong, COO at London Marathon Events (LME), concurred. She said that the mass participation running market, in particular, is currently enjoying a huge boom. This is being driven by more women taking part in events, and there’s a massive surge in participation from 18 to 29-year-olds, too. Furthermore, she explained that the London Marathon has achieved near parity in applications for the first time, with more than 49 per cent of the applications coming from women (up from 43 per cent in 2024).
GROWTH
According to Andrew Smith, CEO of A.S.O. UK [formerly Human Race], the running market is strong. A point bolstered by A.S.O. UK’s recent launch of LDNX, a 12,000-capacity, 10k closed-road run taking place at Wembley on August 24, 2025.
Smith said that A.S.O. UK is known for delivering events such as the Manchester Marathon and London Winter Run, but LDNX will mix the best aspects of those events with some new features. Exact details have yet to be released, but it’s clear that Smith’s team is busy planning while setting up the business for more growth and success.
As StandOut writes, A.S.O. UK is gearing up to deliver the 10th anniversary edition of the Cancer Research UK London Winter Run before it turns its attention to the adidas Manchester Marathon on April 27, the same day that the London Marathon takes place.
SIMPLE MATH
This year’s Manchester Marathon will feature several changes – including 4,000 more participants (increasing from 32,000 to 36,000) and a new finish line located at Manchester University. This move enhances the options and facilities available post-finish and hopes to improve logistics and flow.
Smith explained: “We did a bit of analysis and spoke to some of the bigger marathons around the world, and we felt that we needed
to have a separate finish line. Last year and in previous years, we effectively had the same start and finish around Old Trafford. We had lots of infrastructure in one place. But when you go up in size and scale, unless you’ve got a huge space, like the Berlin Marathon has, it can be hard.
“A lot of our route is the same, which is helpful from a traffic management perspective for businesses and residents, but ultimately, as you approach the previous finish line with a couple of miles to go, rather than turn left and go back to the Old Trafford area, we will now head to the city centre and the finish will be the backdrop of Manchester University. It has lots of space, wide roads and wide pavements.
“Runners and spectators will have greater access to the positive aspects of a city. From cafes and bars to celebrate afterwards, and those staying in hotels will be closer to them. And we’ll have double the square meterage of space that we previously had. So, you just need to do some simple math to start to realise that when you double the venue space, then you can start to grow the event and give people an amazing experience.”
STABILISING COSTS
Smith and his team are excited to grow the event in increments of 4,000. The plan is to naturally grow the event over time, and there’s a desire to be the biggest marathon
MARATHON SWIMS
A RUNNER CELEBRATES
in Europe. However, to do that, it needs the support of loyal sponsors, dedicated stakeholders and experienced suppliers.
A.S.O. UK works with several suppliers across all its events [London Winter Run, Dragon Ride, Manchester Half and Manchester Marathon], including GAP Group, Titan Security, Mist FX, Race Ahead, ATZ Safety, Tracsis, Affinity Crew, Eventmen, Pinnacle Marquees, Acute Ambulance and Medical Services and Loos for Dos.
Smith confirmed that the big “gulp moments” of previous years, when organisers would sit shocked after seeing an email with cost increases, have stabilised. Much of that is down to communication and working well in advance with suppliers.
CONSISTENCY
Wong agreed. She commented: “Like many in the industry, we’ve seen cost pressures increase over the past few years, particularly in areas such as event infrastructure, staffing, security, stewarding and transport.”
However, whilst LME has been focused on streamlining its supply chain and commercial agreements over the past 18 months, it does not foresee any significant changes in 2025.
The past two years have been a period of growth for LME. During that time, it has acquired the Brighton Marathon Weekend and the Bath Half Marathon, and it has expanded into Wales through its partownership of Run 4 Wales. It also now has a majority share of Maverick Events, and most
recently, it added Caledonian Concepts, Loch Ness Marathon, Etape Loch Ness, and Inverness Half Marathon to its portfolio.
So, with such huge growth, how is LME onboarding each business and ensuring brand consistency across its portfolio? Wong explained: “Each acquisition or partnership is different and has a unique onboarding plan. For example, the previous owners of the Brighton Marathon Weekend went into administration, so LME took over the event immediately and delivered it in 12 weeks in 2023. With Caledonian Concepts and the
Loch Ness Marathon, the previous owners are still with the businesses, and we’re working with them on a long-term growth plan.
“We all share an overall ambition of inspiring activity in all ages, abilities and demographics and a passion for the power of getting active to transform mental and physical health. It’s important that each event has a unique identity and all have a focus on delivering a great participant experience.”
BUSINESS SENSE
This year’s TCS London Marathon will feature
ABINGDON MARATHON
a new start area (the fourth start) for its new Team Green participants. Up to 5,000 runners will be “baggage-free”, reducing the number of baggage lorries needed on marathon day. LME is expanding its education programme to encourage participants to use bottle belts or hydration vests and providing more refill stations at events, too.
Ian Allerton, director of operations at Motiv Sports UK, is also working hard behind the scenes, looking at potential changes at Hackney Moves and Oxford Half. He said: “If your event is sold out or at capacity, and you can’t fit more people in, what can you do year on year to continue to innovate the product?
“Whilst running is doing very well, we don’t want to see events stagnate. It’s not about changing year on year, but suddenly, three to five years down the line, you could be in a different position,” Allerton continued.
“If we don’t keep things exciting and fresh, there’s no guarantees that an event like Hackney Moves or Oxford Half will continue to sell out year on year. So that’s definitely a holistic challenge for us as a business at the moment. What can we keep doing? We can’t just incur loads more costs trying to do something really cool and really unique if it doesn’t make business sense.”
CROWD FLOWS
Much of the work that Allerton is conducting at the moment is around the start and
finish line at the Oxford Half. Currently, the operational workload is around capacity, arrivals and departures, spectators and crowd flows. How can Motiv Sports – which works with Peequal, Vacant Hire, Race Ahead, Perfect Pitch Marquees, Arena Barriers and Enhanced Care Services – get people in and out and how can people move around the site? It is looking at its box crossing systems and whether participants and spectators can have somewhere else in the “tight” city centre.
That’s because the Oxford Half route overlaps – mile one overlaps mile 12, but it’s also the way to get to the start, and it’s the way to get back from the finish. So, if Allerton can find another “couple of miles” in Oxford, changes might be made.
It’s a similar scenario for Hackney Moves. Allerton and his team are looking at the arrivals and departures piece, including transport. For example, this year, it is forcing thousands of participants to use Hackney Wick overground station to get to and from the event. Trains will not stop at Homerton station, a mile from the site and a favourite with participants and their friends and families. Instead, Hackney Wick, which can accommodate larger numbers of passengers, will be used with additional wayfinding directing crowds.
LESSONS LEARNED
Green for Doors’ Rich Neville is the event
director of Brands Hatch 10k, an event that launched in 2024 and raises money for Heart of Kent Hospice. Like Allerton and Smith, Neville is looking at the event’s finish line and traffic and transport plans.
He said: “We decided to organise the run last year with only around three months’ notice, so having more time to organise and market the event this year (July 4, 2025) has been a great help. We learnt some lessons about car parking. We filled up quickly last year, so we need more of a plan for overflow, and we are looking to redesign the layout of our finish line to give a better experience to both participants and spectators.”
Neville continued: “Knowing what we know from the 2024 event, we will work with some of our suppliers earlier to decrease shipping costs, meet with our car parking team to come up with a more resilient plan and we now know more about the flow of participants and spectators around the venue, which will help us with signage.”
Neville is working with Shoot 4 Goal and Geo Brand on the Brands Hatch 10k, and like Smith, has not seen any huge price increases.
MESSAGING
Earlier this year, Charlie Beauchamp, a sports event consultant, founder of Pulse Sport and the former MD of Threshold Sports, caused a stir when he published a story on LinkedIn that aimed to dispel some myths around
MOTIV SPORTS’ OXFORD HALF
HACKNEY MOVES
mass participation sport. Interestingly, the article published details of the average cost of putting on a half marathon, using figures from five half marathons that took place over a three-year period. The average cost? £94,500. Today, organisers should add at least 25 per cent to that figure. However, the article raised questions over how aware participants are of what things actually cost and what it takes to organise the events they love.
Beauchamp told StandOut that if messaging around costs was magnified and communicated by organisers – using an external third-party – it would take pressure off small to mid-size events that struggle to compete against larger mass participation organisations.
THREE CORNERSTONES
Diccon Loy is the former commercial director at Limelight Sports. He left in 2017 to set up Participation Sport, which organises Marathon Swims, Swim the Night, and Original Marathon events. Plus, he directs the national Swimathon event.
Unlike other mass participation events that have thousands of participants, Loy’s events have hundreds, so they are more “micro participation”. Still, he believes that you don’t need 10,000 people in a sports event to make an experience uplifting, exciting or shareable.
Loy said: “Our ‘micro’ events deliver a great experience, in unique venues and a welcoming atmosphere, along with scarcity of places which ensure sell out events, oversubscribed ballots and enhanced charity value with strong ROI.”
Loy argued that smaller events mean profits are easier to achieve and overall risks are lower. To do that, he believes in scalability and authenticity and an ability to replicate. These, he said, are the three cornerstones of successful sports events.
FROM SMALL ACORNS
In 2024, Participation Sport launched the Original Marathon in collaboration with Race Pacing. The event retraces the route of the first ever 26.2-mile marathon from the London 1908 Olympic Games from Windsor Castle to White City. It sold out in 2024 and has doubled in size, with an oversubscribed ballot in 2025. Loy said there are opportunities for further expansion. But it’s not Participation Sport’s only new event.
London 100 – central London’s only 100km run – will take place for the first time in May 2025, and Loy is looking to take the Marathon Swims format to potentially two other venues (Birmingham and Sheffield) in 2025.
“I have the experience of big and small events, but the advantage of being a small and nimble operator is that I can break out of the mould of needing 4,000 to 5,000 people in an event to even think about breaking even,” Loy commented. “When you have sponsors and high-ticket charity partners, they expect to see a significant return on their investment. That’s challenging for all but the best in the market because they have the comfort of numbers.
“When I started, I wanted to create a business model where we don’t have to add charity partners. They’re a bonus. We don’t
have to have title sponsors. They’re a bonus. If the event can turn a profit without those things, then that’s what we need to do.”
Excited at the prospect of doing something himself, Loy created Participation Sport, which is making waves in the swimming community with insight and innovation.
“When we created the London Marathon of swimming, I copied the London Marathon entry fee at the time, which was £39. It was a great success but it lost money. That didn’t matter to me. I learned from that because I started with zero database and zero social media. In year two, we broke even, and since then, we’ve been increasingly profitable every year. Now we charge £125, but that’s based on experience, and every subsequent event we have launched have all been profitable in year one.”
Loy hopes London 100 – a collaboration between Participation Sport and Camino Ultra – will be profitable in year one. He sees collaboration – sharing ownership, risk and reward – as key to winning in the mass participation market. It helps small organisations to grow quicker, reach more customers and deliver stronger experiences, he commented. All vital elements if sporting organisers are to survive, regardless of whether they run mass or “micro” events.
“We are a small company and punching well above our weight,” Loy concluded. “Events can start small, so size is not everything. The first New York City Marathon had only 55 finishers, and the first Parkrun had 13 runners. From small acorns… but you need insight and innovation first.”
BRANDS HATCH 10K
Taking events to the next level
Scott Rooney-Ashby, account director at Sunbelt Rentals, discusses the importance of trusted suppliers in creating spectacle and sparkle in events
In the events industry, technology and idea creation is more important than ever. Advancements in visual effects, lighting and sound are transforming events into more immersive experiences that engage multiple senses and leave lasting memories. Today, audiences expect to be wowed at every event, which means organisers must partner with suppliers who can deliver impact. With factors such as cost, sustainability, and reputation influencing decisions, staying ahead of trends, and continuing to innovate, is essential to meet customer demands. With more than 20 years of experience delivering both indoor and outdoor events, I know first-hand how important reputation and relationships are when working with major industry players. As a hire partner, we’re expected to bring creativity and flair to the table and manage the logistical and technical aspects. Through my work with companies such as the Olympic Delivery Authority, ITV, and Pepsi Co, in locations as varied as London, Atlanta and Abu Dhabi, I’ve seen the bar continually rise. Therefore, staying ahead of trends has become important to satisfy audience expectations.
In June 2024, our team helped bring Disney’s magic to life for 192 families by transforming Hoar Cross Hall into an enchanted manor for an 11-day immersive experience. As the single source solution for the event, we handled everything from technical production to event infrastructure, ensuring every detail created an unforgettable experience. We set up a custom theatre marquee with LED staging, flooring, and HVAC to keep everyone comfortable. Our team created an immersive experience by including stunning LED backdrops, full AV systems, and dynamic lighting that brought Disney’s magic to life. From generators and trackway to fencing, accessible facilities, and power distribution, we managed everything to make sure every Disney show and activity ran smoothly with full event rigging. The key to success of the event lay in the precision of our execution and having the team behind the team that could adapt to any challenge on the day. Looking ahead, it’s clear to me that the future of events will continue to focus on creating memorable experiences that are not only technically impressive but also meaningful for attendees. And as the industry evolves, suppliers must embrace new technologies that help bring ideas to life while keeping sustainability in mind. Ultimately, it’s the combination of creative design through innovative tools, thoughtful delivery and technical expertise that truly makes an event stand out, and that’s why having a trusted, experienced partner is key to taking events to the next level.
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• Design and build of pressurised and chlorinated water networks
Water is essential to any event or festival site. Read on and discover new products, temporary event water best practices and why organisers are looking at water usage and water supply
Ride Across Britain is one of the UK’s toughest cycling challenges in the fundraising calendar. Organised by Threshold Sports, the gruelling ride sees more than 700 cyclists pedal 980 miles from Land’s End to John O’Groats every September, taking in some stunning but steep terrain, including Cheddar Gorge, Shap Fell, and the Lecht. Meticulous planning is needed to organise the mass participation event and ensure the welfare of all participants, and one of the most important elements is making sure riders have access to a good supply of water.
Water Direct is tasked with the responsibility of transporting the more than 540,000 litres of water that the event needs across the length of the UK. The project is a logistical challenge thanks to the nature of the event – one huge moving jigsaw puzzle. Unlike festivals and large-scale public events, Ride Across Britain doesn’t have the beauty of infrastructure that stays in situ for days once it has been installed. Instead, a rigorous schedule has to be met to provide riders with showers, toilets, catering and laundry facilities – all of which need water – in the most efficient and sustainable way possible.
It’s just one example of the detail needed to ensure great event experiences and it highlights the importance of robust event water plans to reduce an event’s environmental impact, increase efficiencies, and save money.
WATER PLANS
Already, event organisers are firming up their temporary event water plans for 2025.
For example, Stable Events has contracted Prestek as its water supplier for The Game Fair at Ragley Hall, with Catherine Bishop, Stable Events’ head of operations, citing considerable cost savings for the appointment. James Crute, director of Xtraction, is working with several organisers to look at water usage and ensure event and festivals are not overusing water, and Danny Greene, Coventry City Council’s senior events officer, is looking at temporary event water plans for Godiva Festival alongside its supplier Temporary Water Solutions.
In 2024, Coventry City Council installed new water pipes so that a large chunk of the Godiva Festival site could be fed from the mains supply, reducing the amount of water needed to be brought in by tanker. In fact, the new move removed four tanker journeys from the road. Now Greene is looking to go one step further and gather more data on water usage as it looks to improve on the sustainability strides it has already taken.
ENVIRONMENTAL IMPACT
“Understanding your water needs – not just for drinking, but for sanitation, cooling, and waste management – ensures your event or project runs smoothly,” explains Liam Willis, account manager at MTD, the temporary water infrastructure specialist. “We always recommend to get in touch in the early planning stages, so you have a clear picture of requirements and potential challenges.”
This year, MTD is working at Creamfields, Boomtown, CarFest, The Open, Cheltenham
Festival, Aintree Grand National and Epsom Derby. Willis continues: “More and more clients are asking for ways to optimise their water use and reduce environmental impact. Our smart water meters and water scans are helping organisers gain real-time insights into their water consumption, allowing them to make data-driven decisions. At past events, this technology has not only reduced unnecessary water use but also improved logistics. By helping teams schedule maintenance, optimise refills, and even adjust cleaning schedules based on actual usage patterns.”
PEAK TIMES AND PRESSURE
Joe Sheals, director of Proud Events, the event production specialist, is working with Event Water on water plans for Wychwood Festival after learning more and more about the site over the last two years and how the festival’s audience use water during the threeday festival.
Sheals explained: “We’ve got access to mains water from a hydrant which – at hydrant level – is pumping out a really good, reasonable water pressure. In 2023, the first year that we worked on Wychwood, we tapped into the available water system and found that the water pressure where we had our shower blocks wasn’t sufficient. Even with holding tanks. We daisy chained the water from source to different holding tanks and then pumped it to its different destinations, but at peak times, there wasn’t enough pressure to feed the number of shower heads
WYCHWOOD FESTIVAL
that we had. That was the problem we had in year one. Last year, we thought, right, is there a different approach, as in where we position our holding tanks or the size of pipe work that we use? We found that we did have success in some areas, but we also had challenges in others,” Sheals continued. “When we get to site, we start pumping water into holding tanks but it’s just not enough for the size of the event, and because our clientele is very family friendly, despite my calculations, we learned that the average time someone spends having a shower at Wychwood, is double what my expectations were. These are all important learnings and so we’re resigned to the fact that we do have to tanker water in.”
NEW PRODUCTS
Sheals hinted at the possibility that Cheltenham Racecourse, which hosts Wychwood Festival, and the local water authority could install more permanent infrastructure and share costs associated with any long-term investments. This would help the independent festival, especially at a time when costs continue to bite.
According to Willis, organisers are looking for ways to reduce water wastage and improve operational resilience. He says that sustainability and efficiency are becoming
even more critical in the event world but with increasing costs, there’s also a big focus on the price tag.
He adds: “That’s why at MTD, we see a shift towards data-driven water management and long-term partnerships, allowing us to measure and use the water effectively and support clients in making informed and sustainable choices.”
Recently, MTD debuted its new Silver Label 2-container system that can transform wastewater back into clean water that can be used to flush toilets or released back into the environment. This reduces the need for wastewater tankering. Now that the system has gone through more testing, Willis says it will be something that is seen in the UK market more in 2025. Plus, the company has had “success” with misting arches, which debuted at the Paris 2024 Olympics and proved to be a fantastic way to keep visitors cool in high-traffic areas.
Temporary Water Solutions – led by Richard Connor – is currently building a modular misting station after it successful trialled a unit at a sporting event in 2024. It features a 1,000-litre tank, it’s almost 10-feet high and has multiple heads on it and a built-in pump, which works off a battery. Participants – such as runners or cyclists – can walk past the
misting station and cool down if they chose to or go straight to a water station. It’s a system that organisers can chose where it is placed on an event site.
Connor is currently in talks with clients who might want to utilise the misting station at their events, taking into consideration the boiling hot temperatures that the UK has seen in the summer months and with the Met Office predicting more record temperatures for 2025, misting stations are becoming more common on event sites. This is why it’s never been more important to nail temporary event water plans and the infrastructure needed to make your event swim against the tide.
Sheals concluded: “We all want the event industry to look at sustainability. What we’re looking at is knowledge and the ability to monitor what water is getting used where and when. I know we’re trying everything we can to reduce the need to bring water in, in tankers. That means that at night times we are pumping water from different parts of the site in preparation for the morning rush at the shower block. No, it’s not easy, it’s all about stop cocks and pumps and moving water to different areas, but you know what’s more important, it’s not about costs, it’s about the responsibility of not wasting water and not wasting assets.”
MTD’S SILVER LABEL UNIT WATER DIRECT
MISTING STATION
Driving force
The 2024 Salon Privé Concours was won by a red 1957 Ferrari 335 S. The Maranello sports racer not only proved popular with the automotive event’s judging panel, but it was also a huge hit with Salon Privé’s distinguished guests.
“There are too many beautiful cars to mention,” says David Bagley, co-founder of Salon Privé, as he settles to discuss the last 20 years of the luxury automotive and global Concours event.
It’s clear that cars are a huge passion of his, and it’s why StandOut enquires about memorable cars that he has seen. “The 1957 Ferrari was very special; it was stunning. I mean, I am very spoiled because I have so many beautiful cars to look at. It’s almost impossible to say, but the Ferrari is up there, and that’s why we have been voted the Best of the Best.”
The Best of the Best that Bagley refers to is the Peninsula Classics Best of the Best Award, which recognises nine vehicles that won awards at the previous year’s major Concours events. To be included in the nine is an incredible accolade and one that Bagley acknowledges as a testament to the hard work and dedication of the Salon Privé team.
EXCLUSIVITY
Born in Lichfield and raised in the Midlands, which meant frequent family visits to the
NEC Motor Show, Bagley and his brother Andrew founded Salon Privé, bringing together premium car marques under one roof. In the early 2000s, this was a new style of event.
Bagley explains: “The premium brands were dotted around multiple halls at one huge exhibition. There was no potential for cross-marketing or any sort of synergistic marketing between brands that were essentially fishing in the same pond.
“I had spent years running exhibitions, so I started to create events where the experience of the guests attending, the exhibitors presenting, and the sponsors supporting mattered. It was about a combined effort, but that needed a different approach. At the time, exhibitions were about being as big as you could possibly be, with many different products and an affordable entry point. When we launched Salon Privé, the idea was to create a luxurious event that brought high-value products and supercars into an environment with the exclusivity of a garden party.”
EXPANSION
Salon Privé was exactly that. The reality matched the vision and the event soon outgrew the Hurlingham Club, its first home. After five years, it moved to Syon Park, but four years later, it expanded once
more. Now, its long-term home is Blenheim Palace, with extensive grounds that can accommodate any plans the Bagley brothers have for expansion and development.
PRICING
Bagley describes Salon Privé as akin to running a series of high end weddings back to back because of the event’s huge expectations and high intensity. There’s a need to attract an audience that brands wish to meet and pressure to create an unrivalled social occasion that visitors who want to enjoy year after year.
“We set out to be a high entry ticket event from the very beginning, at a time when nobody was doing anything remotely like what we were doing. We maintained this process of entry over the years, until last year, when we decided to introduce an entry-only ticket.
“When you talk about things we’ve learned over the years, we realised that we couldn’t scale or grow the business fast enough if the minimum entry ticket was give or take £300,” comments Bagley. “The more we spoke to people, the more we realised that there were enthusiasts and collectors out there who would happily pay £80 to £90 for a ticket to just enjoy the cars, without the pomp and ceremony, Champagne and sit down lunches. They wanted to experience the
Birmingham
This year, Salon Privé will celebrate its 20th anniversary. Read on as co-founder David Bagley reflects on 20 years and the drive of his life
event and be a part of it. So we introduced this ticket last year, and it was hugely successful, and that’s how we’ll continue to take the event forward and grow.”
EXPERIENCE
According to Bagley, Salon Privé at Blenheim Palace has become part of the fabric of UK social events and is up there with Royal Ascot and Wimbledon. Despite so many new events that pop up all the time, Bagley feels
that the event has been around long enough to have as good a reputation as you can get for people to want to continue coming back. He says: “An event is about experience, and experience incorporates everything from what you see, where it is, what you drink, what you eat, the whole package. The thing about an automotive show is that the event, what’s on the lawn, self-renews. Every year, you have new classes, you have new manufacturers, and they have new cars.
I think if you get the fundamentals of the business and the event right, naturally, your content and what’s on display will change. It’s organic.”
RETHINK THE BUSINESS
At almost £300 a ticket, most people wouldn’t describe the event as affordable. Naturally, to the event’s affluent target market, £300 (inclusive of lunch and a complimentary bar) is not a problem, but
DAVID BAGLEY (he/him)
regardless of the ticket’s price tag, there’s still a need to show worth and add weight. It’s why Bagley and his brother constantly look at how they can develop the event. For example, the 20th edition of Salon Privé will feature several marine brands, with boats being displayed on the lake at Blenheim Palace for the first time. Plus, there’s some serious weather-proofing taking place.
Bagley explains: “By far the biggest change for us in 20 years is the introduction of some gallery glass structures. Since we launched, we’ve been very lucky with the weather. I mean, very lucky. We’ve never been rained off, and if we were, it would kill us.
“Salon Privé is a very elegant, exclusive event that people dress up to see and be
seen. To dress up is part of the experience, but it’s not the kind of event where you can throw on a Barbour and a pair of wellies.
“We’ve been lucky all these years, but getting to year 20 was an opportunity for Andrew and I to have a real rethink of the business and the event and recalibrate it. And to your question, about our plans for the next 10 years or so, the idea is to reset the event now to allow it to develop and grow.”
As a result, Salon Privé is using Ascot Structures’ Orangery product to create “stunning” glass galleries that will provide cover for guests and brands and “elevate the display experience”. However, the glass galleries and additional cover are not the only developments that Bagley is working
on. The brothers hope to officially launch Salon Privé Zurich in June with a view to opening the show in June 2026. This is one reason why Filip Bourgoo has been hired as Salon Privé’s new CEO.
“There are legs in the old dog yet, I think,” Bagley concludes. “Interestingly, with Switzerland, there’s no Geneva Motor Show, and there aren’t any Concours events in Switzerland to speak of. Certainly, the feedback and the response to us going there has been very, very positive. So, I think there’s an opportunity, and it looks like it could be an interesting one for us.”
Salon Privé will take place at Blenheim Palace from August 27-30, 2025.
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On the road
Anything is possible with a branded trailer or exhibition unit. StandOut shines a light on experiential campaigns and activities that featured a promotional vehicle at their heart
In the last three months of 2024, more than a fifth of marketeers reported an increase in their total marketing budget. The statistics from the latest Bellwether survey are welcome news and indicate a promising outlook for marketing expenditure in the next financial year. More importantly, the findings suggest that event spend is on the increase with 15 per cent of marketers planning to centre their plans on event and experiential activity.
Such budget growth is bolstered by a growing army of brands that are taking to the streets to engage fans and target markets, and according to Sense London, it’s no coincidence.
The brand experience agency’s Futures Lab report, which focuses on upcoming experiential trends, says audiences want experiences that reduce digital noise and connect through common passions.
IN-PERSON INTERACTION
Last year, a throng of experiential campaigns took to the streets in high-footfall areas to appeal to a growing demographic that want inperson interaction and to engage with a brand on a different level.
For example, Taco Bell tasked Seed with creating a campaign that transported students in a branded Tuk Tuk from local nightclubs
to the nearest Taco Bell restaurant, N20 collaborated with Tesco on its Pride in London activities, transforming a vehicle into the Jolly Disco Trolley, and Sense London worked with Inchmere Event Design to fit out and fully wrap a new Renault electric van for Linda McCartney, spreading the brand’s passion for vegetarian cooking to the South of England. Central to each of these campaigns was a branded promotional unit, exhibition trailer, or wrapped vehicle/truck.
TUK TUKS AND TACOS
The Taco Tuk Tuk Tour was a late-night activation that delivered convenience and buzz to students in five major university cities. Seed parked a glowing purple Tuk Tuk outside popular clubs and transported revellers to their nearest Taco Bell for free tacos. This twist on late-night transport encouraged Taco Bell app downloads, drove restaurant footfall, and positioned Taco Bell as the “perfect post-club destination”.
SENSE LONDON AND LINDA MCCARTNEY
BACKLASH AND VIEVE
The Tuk Tuk became an instant socialmedia-friendly icon. Brand ambassadors stationed at club exits engaged with clubgoers, encouraging app downloads in exchange for wristbands granting free rides and taco tokens. It was a big hit and the tour exceeded expectations. Students queued to hop on the Tuk Tuk and it’s just one example of how a branded vehicle can be used.
RAISE BRAND AWARENESS
In 2024, Backlash, the experiential marketing agency, worked with Vieve, the beauty brand founded by Scottish influencer Jamie Genevieve. Backlash delivered the brand’s first UK roadshow, which introduced a “community” of Vieve fans to its new foundation.
Genevieve, who has 1.3 million Instagram followers, was on-site to greet visitors who travelled to get a look and feel for the brand. The roadshow visited Birmingham, Liverpool, London and Manchester and was Vieve’s biggest physical retail activation to date. Previously, it had only hosted popups in Glasgow and London. But the sleek, high-gloss and branded trailer enabled Vieve to raise brand awareness, interact with customers and get to know its loyal community of followers better.
BUM-POWERED CHANGE
By using a promotional unit – such as an airstream, exhibition unit, modular unit, shipping container or branded vehicle
– brands have the ability to get up close and personal with a wider demographic. Promotional units, mobile trailers and modular structures – like those supplied by specialist companies such as Versatile Venues, The Events Structure, Inchmere Event Design, TCM Trailers, and DWT Exhibitions –enable brands to showcase their services and products in creative ways.
For example, Who Gives a Crap, the ecofriendly toilet roll brand, recently created a “bum-powered change” campaign to highlight that more than one million trees are destroyed every day just to make regular toilet paper, and billions of people lack access to clean water or a toilet. Who Gives a Crap believes that the public has the power to make a change so it engaged Sense London to roll out a toilet-tissue themed Tuk Tuk, complete with cheeky “bum-per” stickers.
MULTI-FUNCTIONAL
Sense worked with CreateLondon on the wrap and activation piece. They chose a Tuk Tuk to align with Who Gives a Crap’s sustainability credentials. Powered by solar panels to keep the tour’s carbon emissions as low as possible, the Tuk Tuk was chosen because it was small and nimble, keeping space costs to a minimum. Plus, because of the Tuk Tuk’s size, it meant Who Gives a Crap could activate indoors.
This is an important consideration; choosing a unit or promotional vehicle that is
multi-functional and can be used for a variety of activations.
This is exactly why TRO adapted a container for Team BMW to use at each round of the British Touring Car Championship. It has a multitude of uses, which means it has the ability to increase leads and test drives for the BMW brand and engage spectators who simply want to purchase merch or get their children’s faces painted.
POUNDLAND PERKS
Attention-grabbing graphics are essential for brand visibility and this is why One Events had great success with a branded caravan, which it used to promote Poundland’s new Perks app. The Manchester-based agency wanted to transform the Perks app launch into a full Poundland experience for customers. This led to the core idea of sending a caravan up and down the country, adorned with Poundland branding and Perks imagery. The van, fully designed and wrapped by the agency’s inhouse team visited 24 key locations across the country.
In each location, the caravan was situated by the nearest Poundland store. In order to engage people and inspire sign-ups, passersby were met by a brand ambassador, who explained the benefits of using the new app and upon signing up, they received a free coffee from the Perks caravan, and other branded giveaways.
IMPACTFUL AND IMPRESSIVE
The Poundland Perks caravan was positioned in busy town and city centres, which enabled One Events to engage with as many people as possible on behalf of the retail brand.
James Barnes, co-founder and business director of Backlash, which created the Vieve activation, believes that the “beauty airstream” will be a regular visitor to high footfall areas in 2025. He said: “Airstreams have long been a standout tool for bringing immersive experiences on the road. With their iconic smooth, curved exterior, they serve as an ideal canvas for eye-catching branding. The large open sided airstream is great at creating an inviting environment to draw people in, while the unit can be easily towed from one location to the next with minimal setup – making them a perfect fit for experiential campaigns.”
While airstreams have been a staple of the event scene for years, over the past 12 months, beauty brands have shown a significant uplift in interest in taking their campaigns on the road in these vehicles, he said and believes this trend can be attributed to a wave of highlyvisible campaigns that have used an airstream, like the one Backlash designed for Vieve.
“The airstream’s unique design allowed for a full-wrap branded exterior, a chic, premium interior retail fit-out, and a simple yet impactful setup outside, extending the brand experience seamlessly into the outdoor environment,” Barnes concluded. “This campaign not only led to impressive sales as it coincided with the launch of the product, but it also attracted a substantial number of new customers – hitting a key objective for the brand.”
ONE EVENTS AND POUNDLAND
WHO GIVES A CRAP
Home improvements
Media 10’s Giles Perry on the 117th edition of the Ideal Home Show, including changes for 2025 and what the future holds for the brand
hen StandOut sits to chat with Giles Perry, divisional director at Media 10, there are just six weeks before the Ideal Home Show 2025 welcomes an army of visitors. Perry is responsible for delivering the UK’s biggest home event, leading a team of 25 who work on the show all year round. But even though this year’s event has not even opened its doors, planning has already started for 2026. Perry explains: “We’re always adding content, putting in catwalks, super theatres, and expert advice centres, and now workshops are a massive thing. Content has to be fresh. It has to be relevant and give ideas, inspiration, and advice. It’s a constant challenge that we have every year.”
Media 10 had its first meeting about the 2026 edition of the Ideal Home Show four weeks ago. It takes 14 months to create and deliver the behemoth that Perry calls a “British institution” and an “absolute beast”. He says data is key to knowing what audiences want, but sometimes, you can become too “obsessed” with data and forget who your core audience is. It’s a fine balancing act and one that Perry has managed for 15 years.
“We’ve made mistakes in the past where we’ve probably thought, right, we need a whole new audience. Let’s refresh it. Let’s put in all of the stuff that, you know, 20 to 30 somethings want to see,” Perry confesses. “In the past, we put in a load of tech
gadgets and brands that would appeal to that demographic, but they didn’t appeal to our core audience. The Ideal Home Show’s core demographic [40-55-year-old women] makes it successful, so rather than get too fixated on a younger audience, we look after our loyal visitors and grow the show at the peripheries.”
COMPETITION
Perry is talking to StandOut about all aspects of the Ideal Home Show. Business challenges. What has made the show what it is? Why is it still going after 117 years? On March 21, thousands of visitors will walk through the show’s doors at
London’s Olympia – which will soon emerge from an ambitious development – to find home inspiration or just have a nice day out with their friends and family. That’s why it continues to attract more than 200,000 people over 17 days and brands still want to get involved.
“There was a time when people said that the Internet was going to kill our industry, and it hasn’t and it won’t because people do want to get in front of a product before they buy it and have a day out as well. The Ideal Home Show is not just about come and buy something for your house. It’s bring some friends, have a laugh, and have a nice bit of lunch at the Eat and Drink Festival that we put on. We have to compete with a Champagne bar and big Westfield shopping centres that are just up the road, so we’re adding so much more to our shows to create that environment, and that’s why people keep coming back.”
STAYING
RELEVANT
In 2024, Media 10 introduced takeover
days. It asked a magazine or brand to take over a whole day at the Ideal Home Show. Last year, it worked with a military charity for ex-servicemen and invited military veterans’ wives and serving military to come to the show, free-of-charge.
“It worked really well, so we’re building on that for 2025,” Perry comments. “We have four takeover days planned, including one with Good Housekeeping and one with Prima magazine, and they are bringing along their stable of talent.
“We’re also trying to keep up to date with the latest trends to make sure that the Ideal Home Show is relevant,” he adds.” It has to be at the forefront of that home industry, and then there’s social media, influencers, and you have to cherry pick the best ones to associate with the show.”
MARKET CHALLENGES
To stay relevant, the Ideal Home Show’s social media team has three members, and the show itself has its own TikTok account. Perry laughs as StandOut questions him
about his own TikTok presence, and so we swiftly move on from trending videos and Dad dancing.
It’s clear that as a show that runs for more than two weeks and across three weekends, there’s a lot of content to fill. Therefore, the takeover days allow brands and charities to shine. It’s a win for all parties involved and a partnership approach that seems to be working for Media 10, which is working hard to mitigate market challenges.
“The High Street is a tough place to be at the moment,” Perry continues. “We’ve come out of COVID, we’ve gone through a cost-of-living crisis. The High Street is suffering. Some of the big brands you know are disappearing. That’s the backdrop. So, stand revenue, sponsorship revenue, you’ve got to go out there. You’ve got to hunt it down, almost. Nothing’s falling into your lap anymore. Marketing budgets go through so many more layers of sign-off.
“I think so many people were burnt during COVID that it’s a much longer process to sell a 10 x 10 stand. Plus, the
cost of everything is going up, so we’ve really had to make sure every penny that we’re spending is monitored, much like our clients are doing with us.”
CONTRACTS
It takes more than 3,000 people to build the event, including the on-site event management team, temporary event staff, experts, celebrities, contractors, and suppliers. Media 10’s main contractor and venue are on long-term contracts, yet most of its other suppliers are on one-year deals.
“We don’t want to sign ourselves up for too long,” Perry explains. “We always know that there are efficiencies and better ways of doing things that are always popping up. We don’t want to be tied into a three-year contract when we know there’s a better and more efficient way that we could be doing things.”
This means more work for the Media 10 team, but Perry doesn’t seem to mind. Hard work is OK if the show gets what it wants at a price that works.
VENUE DISCUSSIONS
According to Perry, it’s financially challenging to organise a consumer show in the current climate. That said, the future of the Ideal Home Show is looking bright.
Developments and construction at London Olympia will soon be complete. Operating the show with all the noise that comes with a construction site has not been easy. Hence, Perry is thankful that the disruption is coming to an end.
Currently, Media 10 is negotiating terms with Olympia as its venue contract is almost up. Perry and Rob Nathan, managing director
of Media 10, are talking to the Olympia team for 2026 onwards and hope to sign a three or five-year venue deal. Perry confirms that the cost of venue hire will increase and understands why as the huge £1.3 billion investment by Deutsche Finance International and Yoo Capital to turn Olympia into a destination space needs to be covered. He says it’s expected, whilst also acknowledging how well Olympia has worked with Media 10 during the construction phase.
THE BEST OF EVERYTHING
Looking to the future, Giles hopes to create more media partnerships and introduce more interactive and immersive elements to the show. He’d also love to run evening events like Loose Women Live and evening talks, building on the relationship that the brand has with Olympia.
“The Ideal Home Show is a living thing with its own personality,” Perry concludes, talking about the future. “We’re looking at the next five years; we know things are going to change during this time, so we have to be
ready for it, and that means we can’t rest on our laurels. We’ve got to constantly look for better content. We’ve got to do better deals. We’ve got to make sure the venue deal, the biggest single expenditure, is the best deal.
“Once Olympia is finished, it’s going to be a phenomenal destination, and so I know we will want to weave that into the show, too.”
SUPPLIERS LIST
Stand contractor – Creative Live
Security – Stambridge
LED – LED House
Radios – Contact Radios
Rigging – Outback Rigging
Box office – See Tickets
Furniture – Creative Hire
Branding/graphics – Keyboard Graphics
Feature areas – Solutions2, World of Events and Keyboard Graphics
Floor managers and health and safety – KRM Events
Event operations – Event Create
Reaching new heights
Lasers. Drones. Fireworks. Organisers want to wow their guests with visually spectacular effects. StandOut looks at new products, market trends and discovers what it takes to deliver “magical” events
n March, the first of many events to mark the 200th anniversary of the Stockton and Darlington Railway will take place in Bishop Auckland. S&DR200 is a nine-month long festival being delivered by Darlington Borough Council, Durham County Council and Stockton-on-Tees Borough Council under the watchful eye of festival director Niccy Halifax. From March until November – inspired by the first journey on the Stockton and Darlington Railway – S&DR200 will celebrate the region’s pioneering past and look toward its future with a series of large-scale outdoor events and exhibitions. But unless you’re an avid train spotter, how exactly does an event that celebrates trains expect to “wow” guests?
S&DR200 will launch with All Change, an open-air event that will combine largescale set pieces, projection, drones and up to 100 live performers. Taking place on the same site that hosts Kynren, the event will speed through 200 years of railway history, celebrating the transformative power of trains on the landscape and everyday lives.
Created by Imitating the Dog, the performance company, and Rocky Norton and Katie Pearson, both movement directors, All Change will feature a fleet of 400 drones from SKYMAGIC. It’s hoped that the “aerial storytelling” will champion the achievements of a bygone age. Stuart Fairhurst, founder/director of SKYMAGIC, which has delivered drone shows at
Coachella, said: “SKYMAGIC is delighted to bring our world-famous drone light show to S&DR200. As a global company with an office in the North, we’re always proud to support and work with cultural celebrations that champion achievements close to home. It will be a pleasure collaborating with incredible local talent in order to bring our aerial storytelling to the festival’s opening event.”
LASER DRONES
In December, SKYMAGIC delivered two drone shows at MDLBEAST’s Soundstorm and wowed festivalgoers with pyro-drones and choreographed LED screen integration. Lasers obliterated “drone invaders”, too. It’s just one example of how cutting-edge tech, music and visuals can be layered to create something extraordinary.
On New Year’s Eve, SKYMAGIC once again worked in the Middle East and produced a show on behalf of the Ras Al Khaimah Tourism Development Authority. Yet, the New Year’s Eve celebration was no ordinary event. SKYMAGIC chose to unveil a new product on the night.
At midnight a fleet of 47 laser drones joined 1,400 LED swarm drones. The new laser drones with their beams of light captivated the live audience and transformed Fireworks by Grucci’s pyrotechnic display.
SKYMAGIC’s laser drones – developed in collaboration with Light Electric – are a big
technical advancement and will allow creative boundaries to be pushed further.
Fairhurst continued: “We basically invented a larger scale, heavier payload drone that is designed to be multi purpose. So it has a laser gimbal unit but it can also carry pyro or have a camera or a prop mounted to it that weighs up to a kilogram.
“Essentially, we developed a brand new laser module head for this application, because there was nothing on the market that could do it. Also, we do a lot of international shows, freighting things around the world. And we don’t fly one drone, we fly hundreds or thousands of them so the drone platform has been kept down to a size where it is transportable and practical to lay out on site.”
SKYMAGIC’s new drone has a common attachment plate, which means that if a client approaches the business and says they want to carry X amount of pyro, or they want the drone to carry a flag it can now investigate that with them, because it has a platform that will give it a good, stable start on the development. But this is not the only advancement and change in the world of visually spectacular effects.
NEW MOVES
Fantastic Fireworks – which produces fireworks displays at St Albans Abbey, Leicester Racecourse and Kenilworth Castle – has recently acquired Laserfire, which stages multi-media shows including lasers,
flames and cold sparks, Flightshows has heavily invested in more drones including indoor drones, and DroneSwarm – the drone show division of MLE Pyrotechnics – has secured official approval from the UK Civil Aviation Authority to deliver drone swarm light shows that incorporate pyrotechnics attached to unmanned aircraft.
The devices on the drones are fairly small but will enable a red drone heart, for example, to shine before white sparks fall to the ground, or the blond hair on the portrait of a woman could have a gold shimmer.
Mat Lawrence, project manager at DroneSwarm, said that the new tech will “redefine” aerial entertainment in the UK and create new effects in the sky.
DRONE THEATRE
Certainly, the number of drone light shows being put on sale to the general public is growing. It’s almost as if drone theatre is becoming a trend.
For example, in December, Celestial produced its own ticketed show, A Christmas Carol. Narrated by Matt Lucas, A Christmas Carol took place at stadiums in the UK and in March, its next show – The Wonderful Wizard of Oz – will take off.
In Derby, Lumina Drones has recently gone on sale with Space Safari, a narrated drone show, which will take place at The
County Ground in October. But before then Space Safari will take place at Ascot Racecourse in April.
“If planned properly and working with experienced providers who know the regulations, regulators and tech inside out, drone shows can elevate existing events and are now popular events in their own right,” said Ottilie Culloty, head of global marketing at Celestial. “As an emerging art form, drone light shows have grown in popularity with audiences over the last 12 months. Celestial is pioneering this new form of entertainment and has delivered 20 performances in the UK and the US to date with shows experienced by more than 100,000 audience members.”
According to Culloty, drone light shows are an alternative way to experience traditional stories and theatre productions. She continued: “Visual effects play a crucial role in shaping the overall atmosphere of an event and enhancing the customer experience. Striking and impactful visuals such as those seen in drone shows can create memorable moments, set the mood and atmosphere, increase engagement and differentiate an event.”
VISUAL PUNCH
Jon Culverhouse, managing director of Fantastic Fireworks and Laserfire, says that
laser shows are proving popular among schools who want to get away from the perceived negatives of fireworks, like noise and air pollution. However, there’s a reason that he steers customers away from thinking of having a laser show on November 5.
“There is such a high expectation of fireworks on this date that a laser show inevitably leads to disappointment,” he explained. “For all their colourful, razor sharp beams, lasers on their own don’t really cut it for most people. It’s not only because they are completely silent, but because they lack the visual punch of fireworks. They don’t hold audience interest for more than a few minutes.”
He continued: “There is also a lot that people don’t understand about laser displays. For example, the more particles in the atmosphere, the better the beams show up. Rainy or foggy days’ work best , while on clear, dry days we use high power fog machines to create the same effect.”
COLLABORATION
Culverhouse said combining lasers with other visual effects like flames and cold sparks, and choreographing them to an upbeat soundtrack, can make a laser show sing and dance. This notion that the perfect visual spectacular can only truly be created by layering many different visual effects is shared.
SOUNDSTORM FANTASTIC FIREWORKS
George Chatburn, director of Flightshows, concurred. And Darryl Fleming, director of Titanium Fireworks, is a big fan of collaboration too.
For instance, Fleming worked alongside lighting designer Tim Routledge on London’s New Year’s Eve fireworks display. They ensured the lighting and fireworks enhanced one another but this can only be achieved by spending time together, coordinating the various effects.
Again, Chatburn agreed. He said: “We worked on Henley Festival a few years ago.
They simulated a power cut throughout the entire site. The site went black. The music stopped. There was just a heartbeat running subtly in the background. Then we fired up with Mr Brightside, and the drones in the air, almost like a big reveal. We dropped down and did some low level drone flying while fireworks went up and this was followed by a big Henley Festival sign in the sky at the end.
“The way to make a visual spectacular is by using multiple elements to bring together a show. Any particular element, whether it’s fireworks, whether it’s lasers, whether it’s
drones, whatever it is, does OK on its own, but the moment you add it with something else and a bit of creativity, that’s where the magic happens.”
BIG FINALE
Culverhouse argued that nothing will ever replace the raw thrill and emotional impact of fireworks. Fleming concurred. He argued that fireworks give organisers better value for money. “I think drones are still sort of relatively in their infancy,” Fleming said. “You’ve got a few operators out there, who
LASER DRONES AT RAS AL KHAIMAH TOURISM DEVELOPMENT AUTHORITY EVENT
seem to be commanding fairly big budgets, and sometimes fairly eye watering budgets, that I can only dream of, but I think drones have got their limitations.
“While their ability to deliver clear messaging is a huge advantage, they certainly do struggle to compare with fireworks when it comes to delivering that big finale, crescendo moment. That said, I do think they work well together.”
INTERACTION = MAGIC
This year, Titanium Fireworks is delivering a huge fireworks show at Battersea Park on behalf of Enable and hopes to work with the team behind the Rugby Union ECPR Challenge Cup final in Cardiff after it worked on the event at Tottenham in 2024. Sports presentation/special effects is one area that Titanium Fireworks is looking to move
into, offering agencies, event production companies and organisers close proximity pyro, CO2 jets and sparkulars and it’s where you will find another growing pyro trend.
Daytime pyro. Day fireworks. However, you chose to describe it, the use of coloured smoke especially in sport and weddings is increasing as organisers and brides look to surprise fans and guests. Again, it’s not the only trend. StandOut has already mentioned that Flightshows is launching into the indoor drone market. So is SKYMAGIC.
“The technology is very new,” said Chatburn. “It’s a different type of show and that’s the big thing with it, an indoor drone show has a lot less drones and the drones are smaller. When the drones are outside, they’re 10 centimetres accurate. But when you’re 100 metres away, you don’t notice 10 centimetres. When you’re five metres away,
you do. So to get the quality of a logo, that you need, the indoor drones can’t really do that because A, there’s not enough of them and B, they’re not accurate enough.
“We’re working alongside performers and dancers that are using, for example, light up hula hoops and lightsabers or they’re in LED costumes. So effectively, the show is pretty much in the dark, but the performers are interacting with the drones. It’s much more about movement.”
Chatburn concluded: “For me, making something spectacular is about adding all the elements together, being creative and coming up with something that’s different. Everybody knows the format of a fireworks display or the format of a drone show, or how lasers work, but if you can change that format, and you can create something new with it, that’s magical.”
Who can you spot?
Team StandOut has been on the road, visiting industry events up and down the country. Look who we bumped into at the AIF Festival Congress, Bristol. Can you spot yourself in our picture gallery?
U-LIVE’S CASSANDRA FREY-MILLS (she/her) AND THE FAIR’S MILLIE DEVEREUX (she/her)
FESTIVAL’S
CANDY WILLANS (she/her) FROM PEPPERMINT EVENTS AND END OF THE
JUDGEDAY’S CHRIS HAYTER (he/him) ALONGSIDE GREENBELT’S DAISY GHIRA (she/her) AND HANNAH BURNS (she/her)
FOUND
MARY HODSON (she/her) AND JOE HEAP (he/him)
ROAD’S LAUREN DOWN (she/her)
LIBBY URVOIS (she/her) AND ELIZABETH COBLEY (she/her) FROM CITIZEN TICKET AND SHAMBALA’S SARAH MASON (she/her)
TOGATHER’S CHRIS SHORT (he/him) AND WILL HOLDOWAY (he/him) WITH FROM THE FIELDS’ KEVIN MOORE (he/him)
BRECON JAZZ FESTIVAL’S LYNNE GORNALL (she/her) AND ROGER CANNON (he/him)
NOZSTOCK’S PETE NOSWORTHY (he/him) AND MEGAN EVANS (she/her) FROM DEER SHED FESTIVAL
CLARE GOODCHILD (she/her) FROM WE ORGANISE CHAOS AND FREELANCER’ JUDY BEC (she/her)
AIF’S JOHN ROSTRON (he/him) AND BIG TEAM’S
BRYONIE MATTHEWS (she/her) FROM HOPE SOLUTIONS AND VISION FOR SUSTAINABLE EVENTS’ CHRIS JOHNSON (he/him)
EVENT PROFESSIONALS ATTENDED THE SECOND MEETING OF THE EVENT PRODUCTION NETWORK
JAVEON MCCARTHY (he/him)
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