Where most mural artists begin
The mural industry is an exciting place, and many young artists dream of becoming full-time muralists and creatives. Through our time in the industry, we’ve seen just how strong that ambition is. But we’ve also noticed some major barriers that make it incredibly difficult for upcoming artists to progress.
One of the biggest issues is simple: access to walls. Without physical spaces to paint and gain real experience, artists struggle to build portfolios, prove their credibility, and move from small personal work into professional projects. This lack of opportunity also plays a wider role in the graffiti challenges we see across Bristol, and is a key reason why there are fewer emerging mural artists than there could be.
For businesses looking to hire mural artists, this lack of early opportunity often means fewer emerging professional mural artists to choose from.
The biggest barrier for new mural artists: access to walls
The start of a young mural artist’s journey is often unclear. How can you build a portfolio without access to space? Private clients and businesses want to see how you deliver, and want to know that you’re confident working at scale. Without clear experience to back you up, you’re often relying on trust, which can be inconsistent. As a result, many artists turn to the street, finding quiet walls to paint. This helps build practice and confidence, but it doesn’t always translate well on a professional portfolio.
It quickly becomes a loop for new artists. You can’t get projects because you don’t have experience, and you can’t get experience because you can’t get projects. It’s a frustrating place to be, and it takes real grit and effort to escape.
This barrier doesn’t just disappear when you get your first wall either. If you want to go bigger, and work on larger-scale murals, the opportunities become even slimmer. Access remains one of the biggest limits on progression.
There are some ways to break through this that we’ve seen. Some artists use grant funding to incentivise clients to work with them, and there are occasional graffiti festivals that you can pay to enter. But these opportunities take time and effort to find, are often competitive, and rarely offer a clear or consistent route forward.
Why being a great mural artist isn’t enough
We’ve realised that you don’t just need to be a good artist to make it into the mural world, you also need to become an entrepreneur. Throughout your journey you often end up needing sales skills, web development skills, marketing, negotiating, and even accounting just to stay afloat. It’s hard enough to be exceptional at your craft, let alone good enough across all of these other areas as well.
That’s why we’ve noticed that many of the artists who do break through aren’t always the most naturally gifted, but they work relentlessly and fully embrace the entrepreneurial side of the journey. Not every artist is willing to cold call, walk into businesses, pitch themselves, and face rejection again and again. You often begin this career for the love of art, and slowly find yourself becoming a struggling salesperson for your own work.
This doesn’t even touch on the level of competition within the industry. Another skill you quickly realise you need is the ability to stand out and find your own lane. That takes time, trial and error, resilience, and business strategy, all alongside trying to stay creatively motivated.
Our experience building Art Sync
We saw this barrier first-hand while building Art Sync. We knew we had the ability to deliver, but back then we had no portfolio. It took time to secure our first project, and even then, it wasn’t at the scale we originally wanted. But it got our foot in the door, and helped us to start building momentum.
We came into Art Sync with experience in business and sales, so we knew from day one that putting ourselves out there and facing rejection was unavoidable. That background gave us the confidence to approach conversations properly, build trust with clients, and establish a visible online presence from the start.
Most artists aren’t fortunate enough to have experience in these areas, so a lot of the journey becomes learning by doing. From what we’ve seen, one of the most effective ways to get that first experience is through your network. Who do you know with walls? Do you know any business owners? Would your family let you paint a mural? These small opportunities can help build early experience without relying on street work to represent your professional identity.
Creating real mural opportunities for artists in Bristol
We’re not just sharing this problem, we’re actively trying to solve it from the inside. By building strong relationships with businesses and institutions, we’re starting to unlock real wall space opportunities and create access where it didn’t exist before. Our latest partnership with UWE and New Wave is beginning to bring some exciting projects to life in early 2026.
We’ll be installing six murals for UWE across Bower Ashton, Frenchay Campus, and their new Kingfisher Court accommodation. Alongside the installations, we’ll be offering students the opportunity to shadow, assist, and take part in design workshops to begin developing real mural skills. The first project will be at Bower Ashton, where students will be involved in the full design process, from concept development through to helping paint the final winning design. This is just the first of several UWE projects that will include learning opportunities.
Alongside this, we’ve also received permission to paint at Skyline Park. We’ll be organising a spray day to give artists open access to a wall where they can experiment, practise, and gain real experience. The aim is to create a space for artists to learn by doing, connect with one another, and build confidence. We plan to offer this as a free experience, removing the financial barrier to entry.
Building a stronger mural ecosystem
This problem is real, and we genuinely want to help. Of course we care about supporting upcoming artists, but we also believe that by strengthening the mural ecosystem as a whole, we strengthen what we’re building too. Bringing new talent through keeps the industry moving, and keeps our own work evolving.
We’re excited to see where artists go when they’re given real opportunities, real walls, and real experience. If you’re an artist trying to find your way in this space, we see you, and we’re committed to doing what we can to make that path a little clearer to walk.
Whether you’re a business looking to hire mural artists, or an artist searching for real mural opportunities in Bristol, we want to play a part in making those connections happen.
If you’d like to hear about upcoming spray days, student projects, or future opportunities, you can follow our journey on Instagram.
BRAVA (Bristol Academy of Voice Acting) is delighted to announce that it has received two Society of Voice Arts and Sciences (SOVAS) Award nominations.
Best Podcast Host
The nominations are for Outstanding Podcast – Best Producer/Host – for BRAVA Founder and CEO, Melissa Thom, for the High Notes podcast on the art and business of voice.
From Monoglian throat singing to vocal health, accents, gaming and more, High Notes uncovers the craft behind the business. Series 3 has just dropped and explores ‘Words at Work’, talking to some of the best minds about voice, speech and communication for business.
Best Audio Drama
BRAVA has also been nominated for Outstanding Audio Drama for Angels in Bristol, an original Film Noir script based in 1954 Bristol, written and directed by Elaine A. Clark, and produced by Melissa Thom.
Elaine wrote the script exclusively for BRAVA’s in-person Characters Masterclass, held in Bristol every summer. This annual event provides participants with the opportunity to be cast in and record a range of productions, from audiobooks, to audio dramas, video games and more.
Melissa Thom, Founder & CEO of BRAVA said:
“I could not be prouder of everyone at BRAVA involved in these nominations. It’s a real testimony to the talent of our voice clients. Here’s to storytelling, community, and the power of voice; to putting Bristol and the South West firmly on the global voice map; and, most importantly, to creating art for pleasure!”.
BRAVA’s High Notes podcast is hosted and produced by Melissa Thom, audio and video engineer Euan McAleece, and audio and video editor, David Macgregor.
The Angels in Bristol cast: Carla O’Shaughnessy, Tiffany Xin, Marilla Lamour, Tina Duffin, Gwen Henderson, Tyler Woodburn, Guy Pass, Daniel Watson, Amy Smith, Rebecca Kozlen, Tabitha Owens and Melissa Thom. The Producer was Melissa Thom and Assistant Producer, Tabitha Owens.
To work with BRAVA on voice, speech and communication in the workplace and beyond, drop us a line at [email protected] or visit our website at www.brava.uk.com
Fiasco is excited to announce that Nathan Crosby has joined the team as its new Creative Director. Nathan brings over 14 years’ experience working as a designer and creative director, with past clients that include Lego, Coke, IHG, OVO, Heidi, and Bath Rugby.
Nathan’s commercial experience, creativity and leadership skills make him a fantastic addition to Fiasco as it continues to expand its breadth of work to take on bigger, bolder, more diverse projects.
“Nathan’s perspective brings fresh thinking to the agency and helps raise the bar for our strategic and creative output. His experience working across an impressive roster of big-name brands along with his sharp strategic lens make this an exciting time to join as we continue our trajectory of growth” – Ben Steers, Co-founder and Executive Creative Director.
“I’m thrilled to join the team at Fiasco. Their new brand promise, to move businesses
forward with feeling, puts emotional resonance squarely at the heart of the work they do – as both a platform for creativity, and a true value driver for the businesses they work with. I’m excited to help shape what this means for the agency’s output with a team already setting the bar for creativity and craft so high.” – Nathan Crosby, Creative Director
Fiasco’s recent rebrand – a collaborative effort shaped by the team – sharpens its proposition and expresses with greater clarity what makes it different, and why that matters. This includes the repositioning of its client services team, along with strategic new hires across different areas of the business. With its focus on growth and ambitions to penetrate a larger international market, including the USA, it’s a pivotal time for the business and an exciting time to reposition what Fiasco stands for.
Emotion-led, feeling-first design sits at the heart of everything it does – and is based on the fact feel-good isn’t just a vibe, it’s a value driver. Work this year has expanded to include high profile clients in the technology and AI sector, such as $1 billion dollar valued business planning platform Pigment, and it recently won an award for its rebrand for Britt. Its approach translates into stronger relationships, greater retention, and more sustainable growth.
About:
Fiasco is a brand and digital agency that combines strategic thinking with creative craft to drive businesses forward. By pairing strategic clarity with creative conviction, Fiasco turns complexity into connection, building brands that move both hearts and minds. You can read more about Fiasco and Nathan, over on their site here.
Bristol’s legendary Slapstick Festival celebrates its 22nd year with an all-star lineup.
Inaugural ‘GOLDEN BAZ’ Award in honour of Barry Cryer to be presented to Armando Iannucci, reuniting stars of In The Loop and The Thick of It
World Premiere of Bob Cryer’s short film, Joke
Wednesday 4 – Sunday 8th February 2026
Fans of comedy and silent film will have plenty to choose from at the 2026 Slapstick Festival. The beloved festival, now in its 22nd year, has become a key event in Bristol’s cultural calendar, with its eclectic lineup of new, classic and silent comedies, as well as stars of stage, screen and the music world gathering to celebrate cinematic magic and merriment.
The cast of The Thick of It and In The Loop will reunite in honour of writer-director Amando Iannucci, who will be the first recipient of the Golden Baz Writers Award during a special event where he will look back at his remarkable career as a writer, director and broadcaster – exploring his inspirations and creative process. Created to honour the enduring comic legacy of Barry Cryer, the Golden Baz celebrates comedy writers whose work reflects his values: wit, warmth, originality and a deep commitment to the craft of making people laugh.
Continuing the tribute to Barry Cryer, Slapstick also features the World Premiere of Joke, directed by his son Bob Cryer. Bringing 10 of his gags to life as a sketch film, Joke includes Dame Judi Dench, Sir Stephen Fry, Alison Steadman, Harry Hill, Rebecca Front, Les Dennis and Miles Jupp (amongst others!) in the cast.
Satire is a theme of this year’s festival, which also features a rare live discussion with Alexei Sayle revisiting his groundbreaking 1980s television series Alexei Sayle’s Stuff. In conversation with Robin Ince, Alexei will reflect on the chaotic creativity behind a show that redefined British TV comedy with its fearless mix of surreal sketches, biting satire and political edge. Nearly forty years since it first exploded onto BBC2, Stuff remains as bold, subversive and brilliantly funny as ever.
‘In curating this programme, my aim has been to remind us why comedy, and laughter, matter. At a time when public discourse can feel increasingly brittle and polarised, satire allows us to explore difficult questions without retreating into anger or fear. Laughter disarms. It connects us. It opens a space for empathy and self-reflection where accusation and defensiveness might otherwise reign.
~ Chris Daniels, Festival Director
Celebrating 20 years of his creation on the small screen, Lee Mack will be explaining how Not Going Out evolved from stand-up beginnings to a multi-award-winning series loved by millions. In this exclusive anniversary event, Lee will look back at two decades of Not Going Out: from its pilot episode to record-breaking longevity as the BBC’s longest-running sitcom. Expect a lively on-stage conversation packed with quips, warmth and Lee’s trademark quickfire humour, interwoven with classic clips, outtakes and behind-the-scenes stories.
Slapstick nurtures the audiences of tomorrow and this year families will love Andy Day’s Cracking Brass Comedy Show, with timeless classics from Laurel & Hardy and Bristol’s own Wallace & Gromit accompanied by the 30 piece City of Bristol Brass Band for a cracking afternoon of fun. Lovers of musicals will appreciate Sing! – the animated tale of theatre koala Buster Moon, who stages the world’s greatest singing competition to save his beloved playhouse. Sing! celebrates courage, creativity and the joy of performance with a few delightful nods to silent-era legend Buster Keaton, who inspired Buster Moon’s name and the film’s spectacular fish-tank sequence.
Acknowledging the contribution of women to early cinema is a strand of films including The Flapper – the first use of this word in a film title. The Roaring Twenties were a new age for women, who bobbed their hair, shortened their skirts, danced, drank and smoked and discovered a world of previously forbidden freedoms. Long before Clara Bow or Louise Brooks made the flapper a global icon, screen star Olive Thomas defined the look, attitude and energy of the modern young woman on screen in this story of a small town girl moving to an elite finishing school.
Famous faces include Lee Mack, Alexei Sayle, Armando Iannucci, Chris Addison, Robin Ince, Lucy Porter, Shazia Mirza, Rick Wakeman; with more events and surprise guests still to be announced, there’s something for everyone at this year’s Slapstick Festival, a comedy cornucopia. See you in the front row.
When Piers Tincknell and David Darke founded Atomic Smash in 2010, the digital landscape looked remarkably different from today. The iPhone had only been around for three years, the term “responsive web design” had just been coined, and WordPress 3.0 “Thelonious” had only recently launched (currently on version 6). Fast forward to 2025, and Atomic Smash stands as a testament to what happens when you embrace change rather than resist it.
To truly appreciate Atomic Smash’s 15-year journey, we need to rewind to where it all began.
The Mobile Revolution Was Just Beginning
The iPhone had launched on June 29, 2007, meaning it was barely three years old when Atomic Smash opened its figurative doors in Spike Island’s Incubator space. Smartphones were still a novelty rather than a necessity, and the iPad wouldn’t arrive until later in 2010. The idea that people would primarily browse the web on their phones seemed far-fetched to many.
Most websites were still designed exclusively for desktop computers, with fixed-width layouts that would break spectacularly on smaller screens. The concept of a website that could adapt to any screen size was revolutionary.
From University Friends to Business Partners
The Atomic Smash story actually begins before 2010, when co-founders Piers Tincknell and David Darke met during their first week of university. What started as a hypothetical business assignment: “creating a podcasting network” turned into a real partnership upon graduation.
They gave themselves three months: if they didn’t get any work or ran out of money, they’d get “a proper job”. Fortunately, that ultimatum never came to pass.
The duo moved to Bristol and rented desk space at Spike Island, where they immediately collaborated with businesses there. This early decision to work in a shared space rather than from home proved crucial, the connections made in those early days formed the foundation of their business.
What sets Atomic Smash apart is how they’ve embraced change rather than resisted it. During their university studies, they observed how quickly the digital environment changes and recognised the importance of embracing it, a philosophy that has driven the company ever since.
In 2015, Atomic Smash decided to trial a new methodology: a continuous delivery model. Rather than building websites as one-off projects, they pioneered an approach focused on constant evolution and improvement of existing sites that could have potentially been built by anyone.
By trademarking “Always Evolving®” Atomic Smash staked their claim to a methodology that challenges the traditional agency model. It’s not just a tagline, it’s a business model, a philosophy, and now, a protected brand that distinguishes them in the marketplace.
This “Always Evolving®” philosophy has become central to their identity. It’s results-driven, combining commercial insights and technical expertise for strategic website enhancements that amplify growth. The message is clear: you’ll never need a new website again because they’ll keep your current one evolving.
Starting with just two co-founders in 2010, Atomic Smash has grown to many different sizes but currently 14 curious minds. By 2019, the company was highly commended as Best Place to Work in Tech at the Sparkies Awards, demonstrating it’s commitment to workplace culture alongside technical excellence.
With the challenge of attracting talent, when large technology companies offer competitive salaries. Their solution? Compete on flexibility, workplace culture, and the opportunity to work with interesting clients who do meaningful work.
Atomic Smash’s commitment to doing business responsibly led them to become a Certified B Corporation, joining a global movement of companies balancing profit with purpose. This certification reflects their values around sustainability, workplace culture, and community impact.
What can we learn from Atomic Smash’s journey?
Community Matters: Their decision to work from Spike Island rather than from home enabled them to build the relationships that sustained their early business. Being part of Bristol’s creative community has been integral to their success.
Specialise and Own It: Atomic Smash positioned themselves as WordPress and WooCommerce specialists rather than generalists. This focus allowed them to develop deep expertise and become known for specific skills.
Rethink the Model: Their 2015 pivot to continuous delivery challenged the traditional agency model of one-off website builds. This “Always Evolving” approach created ongoing relationships and recurring revenue while delivering better outcomes for clients.
Values Drive Success: From workplace culture to B Corp certification, Atomic Smash has shown that doing business responsibly and building a positive team culture aren’t just nice-to-haves—they’re competitive advantages.
As Atomic Smash enters it’s sixteenth year, the digital landscape continues to evolve. AI is transforming almost everything, voice interfaces are starting to change how people search, and new devices constantly emerge. But if the past 15 years have taught us anything, it’s that Atomic Smash will continue to embrace these changes.
The co-founders have also expanded their impact beyond the company itself:
Piers Tincknell now serves on the board of trustees for Spike Island (a fitting full-circle moment given that Spike Island provided their first desk space and initial clients back in 2010).
David Darke sits on the Board of Directors for Bristol Creative Industries, helping reinvest in the creative sector that has been so integral to Atomic Smash’s success.
These leadership roles reflect how Atomic Smash has grown from being part of Bristol’s creative community to actively shaping its future. The company that once relied on connections made at Spike Island is now giving back and helping to foster the next generation of Bristol’s creative businesses and individuals.
Happy 15th anniversary to the Atomic Smash team. Here’s to the next 15 years of innovation, growth, and to always be Always Evolving.
Winter is rolling in, which for most means a time of hunkering down and getting cosy, for some signifies the start of an incredibly hard and worrying time for the rough sleepers in Bristol.
This winter, we’re on a mission at Great State to warm up Bristol in time for the festive period, one jacket at a time. And you know what? You can help.
We’ve teamed up with BOSH (Bristol Outreach Services for the Homeless), a community service that are a central hub for rough sleepers and those vulnerably housed. And they’re in urgent need of more winter coats and jackets. Jackets are always in demand.
In fact, BOSH hands them out every night, along with other essentials like hats, gloves, shoes and trousers. Every donation makes a real, tangible difference – wrapping someone in warmth during the coldest months of the year.
So, here’s the plan. We’re hosting a jacket donation drive in collaboration with Runway East Bristol Bridge, which is where you’ll find our office and the home to over 20 other local businesses.
Most of us have a jacket or two gathering dust at the back of the wardrobe. Maybe it’s last year’s style. Or maybe you simply don’t wear it enough. Why not let that jacket live its best life? Keeping someone warm instead of taking up space.
Together with Runway East, we’ll collect, quality check, and deliver every single jacket to BOSH and see firsthand how your generosity keeps Bristol’s streets a little warmer.
We’re Great State – an independent customer experience agency delivering digital experiences for the next generation. For more than 25 years, we’ve called Bristol home. It’s the city that’s shapes us, inspired us, and kept us fuelled on caffeine and creativity in equal measure.
You’ve probably seen our work without even realising it. Take our work with Bristol Airport for example, where we took passengers on a sustainability journey by turning big green goals into stories people actually read. We’ve worked with Bristol Uni and UWE on their digital transformation programmes, and we have partnered with organisations like Babassa to make sure disadvantaged young people are given pathways into a career in tech. Giving back to this wonderful city feels right. Bristol’s given us so much over the years and we want to return the favour.
This winter let’s prove that Bristol’s warmth isn’t just a feeling – it’s something we can share. Because one jacket might not change the world, but it can change someone’s night.
Here’s your chance to win a Dedicated Desk membership at Origin Workspace, completely free for 2 months!
Enter our prize draw for the opportunity to unlock the benefits of having your own dedicated workspace in our premium coworking space, where productivity meets community, and every detail is designed with purpose. The winner will enjoy:
The runner-up prize…
Our runner-up will enjoy a free 2 month Hot Desk membership, offering a flexible workspace with premium amenities, a monitor for ease, and access to our vibrant calendar of member events. It’s the perfect introduction to Bristol’s most dynamic business community.
Visit our website on details on how to enter https://originworkspace.co.uk/prizedraw/
Terms and Conditions apply.
If you you missed the October offer at Gather Round, fear not – this November, for BCI members only we’re extending the ‘First month free’ discount!
Our BCI offer is available across all Gather Round locations and all membership packages. Whether you’re curious about Part Time or Full Time Flexi memberships, or prefer a fixed desk with Flexi Plus, or if you are looking for a studio for your team, we’d love to show you around.
Our co-working spaces at Brunswick Square, Trinity Church and Cigar Factory each have their own unique energy – but it’s the community that truly makes them special. Collaborations between members happen daily, just by bringing creative minds together.
Created by creatives for creatives, Gather Round is more than a co-working space, it’s a growing network of like-minded professionals who go to work every day and sit, write, design, consult and hang out. Soaking up the energy, passion and positivity from the ideas and expertise of others.
For more info on the different options, book a tour – we’d love to meet you.
Terms & conditions:
When the Chancellor delivers the Autumn Budget, creative businesses across Bristol and the South West will be tuning in for signs of support — tax incentives, training funds, digital investment, and measures to steady employer costs.
As Bristol Creative Industries’ recent article, What our members want to see in the Autumn Budget 2025, highlights, the creative community is optimistic yet pragmatic. Members are calling for clarity, consistency and targeted support but they’re also pointing to something more human: the need to nurture and retain the people who make creative businesses thrive.
Budgets may set the economic stage, but it’s our culture how we listen to, reward and develop our people that determines whether we can truly seize the opportunity.
We’re lucky in the West of England. The West of England Growth Hub offers practical support to help creative organisations scale from access to finance to leadership mentoring and business development through programmes like Create Growth and the Creative Sector Growth Programme. At the same time, the Good Employment Charter provides a clear framework for what fair, progressive employment looks like: secure work, flexible working, wellbeing, employee voice and development. Signing up (it’s free) signals to both clients and teams that you’re serious about building good jobs and great workplaces.
Both initiatives point to the same truth: creative growth doesn’t just happen through funding or innovation; it happens through people who feel heard and valued.
While we can’t dictate what the Treasury does next, every creative organisation can take practical, affordable steps to strengthen culture, attract talent and improve retention.
The question is…why it matters now? The creative economy runs on people freelancers, collaborators, studio teams. But amidst client pressures, deadlines and tech change, it’s easy to lose sight of the human infrastructure that keeps the work flowing. While the national conversation focuses on budgets, our local conversation in Bristol and local areas can focus on something even more powerful: how we build workplaces people want to stay in.
So as the Budget headlines fade, here’s a challenge for creative leaders in the region:
Because growth doesn’t start with policy it starts with people who feel seen, supported and proud to create where they belong.
The government’s 2025 Autumn Budget takes place on 26 November.
Bristol Creative Industries members share what they would like to see in chancellor Rachel Reeves’ speech for creative businesses.
“It’s a tough market right now for creative businesses. We’re an economy of SMEs and micro-enterprises so support that encourages both business start up and scale is critical to our sector growth.
“While it’s encouraging to see central government championing the creative industries, we need that ambition to translate into tangible support. Support, simplification, and incentives for growth are what we’d like to see. That means easier access to enhanced funding, grants and investment, particularly for digital transformation and innovation, alongside tax strategies and initiatives that will create impact including practical help to make hiring entry-level talent affordable and accessible.
“The creative economy is ready to grow, we need support to help us do just that.”
Lis Anderson, co-chair of Bristol Creative Industries
“As the Autumn Budget approaches, creative business leaders must make the case for real investment in young talent. Our industry runs on innovation, but too many aspiring creatives are shut out by lack of access, training, and opportunity.
“Government support for employers to offer paid placements, mentorship, and creative facilities would unlock a wave of energy and ideas our sector urgently needs, and provide the foundations of a solid growth strategy. Investing in the next generation strengthens our talent pipeline, fuels diversity, and keeps the UK’s creative industries globally competitive.”
Mustafa Mirreh, Tell ’em Mo
“Rachel Reeves should be bold. It would be a good start to give the UK’s creative industries a leg up by doubling the Discover Creative Careers programme to £6 million, getting 100,000 disadvantaged kids into apprenticeships and setting up hubs in places like the North East and Midlands to close the jobs gap with London.
“A freelancer package, sorting out IR35, chucking in a £500 startup credit, easing late payment hassles, and a £10 million AI upskilling pot could tackle the skills shortage and calm 60% of creatives worried about job losses. That’d really spark inclusive growth!”
Jayne Caple, Vivid Imagination
“I’d like to see better support for creative businesses, especially when it comes to upskilling and investing in training. Improved R&D and innovation tax reliefs (with proper guidance on how to access them) would go a long way, as would targeted funding and incentives for skills development.
“With the big AI wave reshaping how we all work, it’s crucial that the UK government keeps backing the creative sector and helps it stay at the forefront of innovation.”
Rob Morrisby, Jambi Digital
“If the government is serious about fuelling the UK’s creative growth, it can’t keep treating podcasting as a hobby. The UK podcast and audio industry is now worth £5 billion annually – one of the fastest-growing in the creative economy – and a vital export channel for British storytelling.
“A targeted tax relief and global IP fund would turn that momentum into measurable economic impact, giving independent creators and production studios the same investment confidence enjoyed by film and TV. This isn’t a hand-out; it’s a high-return strategy. With the right fiscal framework, podcasting could become the UK’s next world-class creative export”.
Matt Allen, It Starts With a Podcast
“There’s some truth to that, but it also highlights an issue with discourse surrounding these big-ticket fiscal events.
“Will Rachel Reeves break a tax pledge? Who will the winners and losers be? This is interesting for those in the business of news and politics, but my issue is that it misses a bigger point.
“We have a government with a huge majority, elected on a mandate to change things. They have an opportunity to overhaul an economy that’s visibly and palpably failed too many people for too long – especially outside London and the South East. This is the backdrop for so many of the problems facing us today.
“My hope for the Budget is that we start to see the government’s vision for the country and understand how it plans to get us there. I would start by putting more resource with town and city leaders and getting Treasury officials out of London more often to better understand what places need to thrive and see where their policies over the last 40 years have failed.
“Creating the conditions for businesses and their teams to thrive should be top of any government’s growth agenda. Affordable homes, training and transport that works should all feature in some way.
“This would also add some meat onto the bones of the government’s slogan of ‘change’ and justify any tax rises that seem certain to happen. Polls suggest many people would pay more for public services that work. The challenge for the government is to join the dots between the measures and the outcomes they want. Whatever measure grabs the headlines, I hope we get more of a sense of what ‘change’ really means.”
Ben Lowndes, Distinctive Communications
“The UK’s creative industries thrive on talent, but nurturing that talent takes investment. I’d like to see the Autumn Budget prioritise easily accessible funding for apprenticeships and professional development, especially for independent agencies who want to bring in the best new people but are faced with complex (or costly) schemes.
“We also need sustained support for diversity, equity and inclusion initiatives that make creative careers possible for people from all backgrounds, not just those who can afford to take unpaid opportunities.
“Finally, a commitment to regional investment beyond London would unlock creative potential – and economic growth – across every part of the country.”
Ailsa Billington, Proctor and Stevenson
“Last year the creative industry was highlighted as a “key sector for economic growth”. This year I’d like to see the government go further. Creativity is an essential part of our economy, and we need stronger confidence, particularly in our region.
“Agencies like ours do more than “make things look good”. We craft world-class brand stories, shape digital experiences, and deliver campaigns that drive exports, growth, and innovation across the UK.
“Yet SMEs like ours are constantly squeezed. Rising costs, AI and immersive technologies are transforming how we work, and without targeted support and innovation agencies risk being left behind.
“The Autumn Budget is a chance to see more funding in that pace, and I’d like to see more opportunities with procurement to smaller agencies, and any business support via tax reliefs would be hugely welcome!”
Ruth Clarke, Six
“Employers shouldered the biggest tax rises in the October 2024 Budget, felt through the increase in employers NICs. Whilst Rachel Reeves has given herself very few tax levers to pull for the November 2025 Budget without breaking her manifesto pledge, I think it’s unlikely that further tax will be put on employers.
“Taxing businesses will only create more uncertainty. The creative sector needs a Budget that will bring back confidence in the UK economy.”
Karen Pearce, Loom Digital
“I feel like the Autumn Budget has been a long time coming – partly because it’s later than usual but partly because I’ve read so much about what may or may not happen. Most of it gloomy. But I’m waiting for the facts.
“I’m expecting changes to tax thresholds, but we’ll see what detail there is around that. I’m also expecting national minimum wage increases, but as a Living Wage Employer we’re well set up for them. I am encouraged by the recent measures announced to tackle late payments, which are a big problem for small businesses.”
Jessica Morgan, Carnsight Communications
“We saw business rates rise by over 30% overnight in the last review just a couple of years ago. With another review due next April — and no clarity from the Valuation Office, I’m deeply concerned. In uncertain times, the last thing businesses need is complete unpredictability.
“There’s talk of favourable changes for smaller high street properties being funded by higher rates on larger properties, but its just a mess. The entire business rates system needs rethinking. I hope a national review is on the agenda this autumn in time to give some clarity ahead of April.”
Jason Smith, Gather Round and Fiasco
“As a small, independent, creative business leader, I’m looking to the Budget for reassurance that skills funding will work for businesses of my size and nature. SME access to funds for AI and digital upskilling is critical in helping us maintain pace with some of the larger creative players.
“I would also welcome harder enforcement on late payments as cashflow has become increasingly challenging with rising business costs since the last Budget. Do this and agencies like ours in Bristol will have the support to continue our growth journeys, contributing to the wider creative offering within the South West.”
Lucy McKerron, Purplefish
“We hope the Autumn Budget recognises the vital role of the creative industries in driving economic growth and innovation. AI offers incredible potential for agencies like ours, and with the right support, such as relief on AI investment, we could combine technology and human imagination in even more powerful ways.
“Incentives for content creation would further unlock bold ideas and new jobs across the UK’s creative economy. Ultimately, a Budget that treats creativity not as a luxury, but as a catalyst for progress, would be a powerful statement of intent.”
Kit Worrall, Team Eleven
“TV sets (and mobile phone and routers) are all coming with a big NPU (neural processing unit) inside which will allow the device itself to modify the content while the user watches. You can be in EastEnders for example!
“This creates massive new opportunities for UK creatives to lead, but to do it requires investment in tech as well as the creative industry.
“The tech to do this is created in the UK (we are one of those tech companies) but generally tech is ignored by the creative industry.
“This is not expensive cloud based AI. This is Edge-based AI running in the device, at no cost to the broadcaster. So far only the American and Chinese hyperscalers are taking advantage of this UK tech!”
Trevor Neal, RedSquid AI-TV
Look out for a guide to what the Autumn Budget 2025 means for the creative industries after the speech on 26 November.
A guide to the government’s creative industries sector plan
A guide to the government’s digital and technologies sector plan
Government names West of England as priority area for creative industries
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