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
Bristol-based creative agency saintnicks has been awarded Gold at the Digital Impact Awards, recognising its work with POSCA, part of Mitsubishi Pencil Co. The win came in the ‘Best Community Development’ category, celebrating the agency’s success in growing and nurturing an engaged creative community on social media.
The Digital Impact Awards highlight excellence in digital stakeholder engagement and the power of online brand communication. saintnicks’ campaign for POSCA focused on building authentic relationships with artists and makers across the UK, showcasing their creativity while amplifying the brand’s cultural relevance in the creative community.
Fraser Bradshaw, CEO at Saintnicks, said:
“We’re incredibly proud of this recognition. It celebrates not just great creative work, but the genuine connections built between brands and the people who love them. The POSCA community embodies everything we believe in – creativity, authenticity and engagement that lasts.”
The award-winning campaign brought together art, culture and community to celebrate creative expression and inspire participation. A full case study of the work can be viewed below.
If you’d like a chat about your challenges or request a complimentary social audit, drop them an email and say hello. You can find out more about their social media and content expertise here.
We’re delighted to announce our third Skills Bootcamp in Virtual Production!
Starting Wednesday 17th December 2025, these fully funded courses offer an incredible opportunity to gain cutting-edge skills that are transforming the future of film and media production.
We are offering two specialist courses:
• Virtual Production with Unreal Engine
• Virtual Production with Sony VENICE 2
These bootcamps are free to learners, funded by the West of England Mayoral Combined Authority (WEMCA) and led by the University of Bristol in partnership with MARS Academy (MARS Volume), Gritty Talent, and accredited trainers in Unreal Engine and Sony VENICE 2.
Virtual production is revolutionising the screen sector by blending live action, visual effects, and real-time 3D environments into a seamless creative process.
Applications close at midnight on Wednesday 12th November 2025, please share with your wider audience.
UK digital agency, Torchbox, delivers major website transformation focused on environmental responsibility and inclusive design
Bristol, UK – 14th October 2025 – Torchbox, the digital agency behind open source content management system Wagtail, has developed a new website for World Wildlife Fund-US that demonstrates how sustainable web development practices can work hand-in-hand with improved user experience.
The project helps one of the United States’ leading conservation organisations share its critical conservation message with its nearly 10 million annual users by rebuilding its digital platform.
“Working with a conservation organisation like WWF-US meant sustainability couldn’t just be a talking point, it had to be built into every technical decision,” said Gabi Mamon, Client Partner, Torchbox. “We’ve created a platform that performs better whilst reducing its environmental impact through thoughtful technical choices at every level.”
The new platform runs on Cloudflare’s renewable energy infrastructure and employs modern web development practices, including optimised image formats, efficient content delivery networks using caching to serve all content. These improvements deliver faster page loads whilst reducing the data transfer required for the site’s 30 million annual pageviews.
Accessibility features are integrated throughout the platform, including enhanced keyboard navigation, improved colour contrast, proper semantic markup, and screen reader compatibility. The rebuild also involved thoughtfully reorganising 6,000 pages of conservation content to create clearer user journeys.
“Our website is where millions of people come to learn about global conservation and how it helps both people and nature thrive,” said WWF-US Vice President of Digital Projects Diane Querey. “It’s important that it welcomes users in a way that highlights the important role nature plays in all our lives while conveying the urgency and importance of our mission.”
The project required tight deadline management, with Torchbox working closely with WWF-US’s internal team to migrate and reorganise content whilst building new functionality.
For WWF-US, the new platform provides a foundation for long-term digital growth. The successful delivery demonstrates Torchbox’s capability to meet the complex requirements of large international charities working under demanding timescales.
Visit the new site at https://www.worldwildlife.org/
Integrated brand agency saintnicks has taken home two honours at the UK Social Media Awards 2025, reinforcing its position among the country’s leading independent creative agencies.
Competing against ten national and global network agencies and household names including Waitrose, TUI, Specsavers and Currys, saintnicks claimed Gold for “Best Long-Term Strategic Use of Social Media” for its partnership with Ascot Racecourse, and added Silver for “Best Integrated Campaign” for Royal Ascot.
The UK Social Media Awards celebrate excellence in creativity, innovation and impact across the industry. These latest wins mark saintnicks’ fourth major award of 2025, recognising the agency’s ability to deliver standout results for high-profile clients against world-class competition.
“This recognition reflects the strength of our team and the quality of work we deliver,” said Fraser Bradshaw, CEO of saintnicks. “It’s great to see our efforts acknowledged and to have our clients’ trust reaffirmed through results like this.”
The win reflects saintnicks’ continued success in delivering social media strategies and campaigns that break through the noise. The agency’s award-winning work for Royal Ascot can be seen here.
Looking ahead, saintnicks will be continuing to push boundaries in social and content, with fresh ambitions for 2026 and beyond.
If you’d like a chat about your challenges or request a complimentary social audit, drop them an email and say hello. You can find out more about our social media and content expertise here.
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