One of the UK’s most influential city-led tech events has today announced its next chapter, relaunching in 2026 as Brazen: a reimagined festival of technology, creativity and culture designed to become a must-attend fixture on the national tech calendar.
Formerly known as Bristol Technology Festival and most recently BTF+, the event, of which Bristol Creative Industries is a founding partner, has evolved rapidly over the past six years, growing from a focused tech gathering into a city-wide movement that brings together founders, creatives, investors, policymakers and communities. Now, as Brazen, the festival is setting its sights firmly on the national and international stage.
Taking place across Bristol over five days in late 2026, Brazen will once again use the city itself as its venue, spanning institutions, neighbourhoods and grassroots spaces, bringing together big ideas, practical innovation and cultural moments in a single, interconnected programme.
Inspired by global festivals such as SXSW but rooted in the distinctive character of the South West, Brazen has been created to showcase Bristol as a place to build, experiment and collaborate, while forging meaningful connections between people and sectors that don’t usually share the same space.
Delivered on a not-for-profit basis, Brazen is designed as a long-term platform rather than a one-off event. Each edition will build on the last, with surplus reinvested into growing the festival’s reach, quality and relevance, strengthening Bristol’s position as one of the UK’s most dynamic centres for innovation and creativity.
In its most recent edition, the festival delivered:
Figures that underline both its scale and its growing national impact.
As part of its next chapter, Brazen has confirmed Bristol Business Improvement District (BID) as a strategic partner for the next three years, cementing the festival’s role in supporting a thriving, inclusive and economically vibrant city centre.
Bristol BID is a business-led partnership, working to make the city centre safer, greener, cleaner and more welcoming. The BID invests directly in initiatives that support local businesses, attract visitors and strengthen the city’s cultural and commercial life.
Steve Bluff, COO at Bristol BID, said:
“Bristol BID is excited to be a lead partner for Brazen, where technology, creativity and culture will collide across five days later in 2026. The festival will unlock new opportunities for Bristol’s businesses, strengthen pride and confidence in the city, and showcase Bristol and the wider region as one of the UK’s most exciting hubs for innovation and creativity. Brazen will bring the city to life with opportunities that we’re excited for our business community to be part of.”
Brazen’s programme is built around four interconnected tracks, designed to reach different audiences while maintaining a strong, coherent festival identity:
Across the week, each day will explore a different theme, from leadership and AI to clean tech, scale-up growth and creative technology, giving the festival a clear narrative arc while allowing organisations and communities to engage in ways that suit them.
Bristol Creative Industries will be running events as part of Brazen Festival. Sign up to our newsletter to stay updated.
Brazen has previously worked with organisations including Accenture, Amazon Web Services, Barclays, Deloitte, Dyson, EY, Meta, Sony, NatWest, and multiple universities and public bodies, as well as hundreds of regional businesses, startups, artists and community groups.
Crucially, there is no single model of involvement. From hosting events and shaping programme themes to showcasing innovation or supporting international delegations, Brazen is built around long-term value and collaboration, not short-term visibility.
At its heart, Brazen is about people: the conversations that spark ideas, the collisions that create opportunity, and the community that keeps showing up. With a renewed identity and an expanded ambition, the festival is inviting organisations, partners and audiences from across the UK and beyond to help shape what comes next.
Ben Shorrock, CEO of techSPARK, commented:
“Brazen is the next evolution of everything Bristol Technology Festival and BTF+ set out to be. We’ve seen first-hand the power of bringing technology, creativity and culture into the same space, and Brazen gives us the confidence, scale and ambition to take that story beyond the city.
“This is about building a festival that people plan their year around, one that puts community first, but speaks to a national and international audience.”
Further announcements on programming, speakers and tickets will be made later this year.
For more information or to get involved, visit www.techspark.co/brazen
Bristol Creative Industries will be running events as part of Brazen Festival. Sign up to our newsletter to stay updated.
Supporting the next generation of lighting talent has been part of SLX’s story for years, and applications are now open for the 2026/27 cohort of our Lighting Programme.
Launched in 2018, the programme was created to give emerging lighting designers and technical theatre students meaningful support as they prepare to take the next step into the industry. Each year, five students from across the UK are selected to join the programme during their final year of study, gaining access to practical support, industry insight and real opportunities that help bridge the gap between education and working life.
For students heading into their final year, the programme is designed to give participants a chance to build their confidence, strengthen their knowledge and gain a clearer understanding of the different career paths available within lighting and technical production.
We know how important that early support can be, SLX is a Bristol-based technical production and hire company working across live events, light trails, sports, TV and broadcast, and performing arts. Creativity and problem solving sit at the heart of what we do, but just as important is the responsibility we feel to support the industries we are part of. As a B Corp, that purpose-led approach shapes how we work, how we grow and how we invest in people.
The Lighting Programme reflects that mindset. SLX was built by people with a genuine passion for these industries, and that has never changed. We know the sector depends on skilled, creative people coming through, and we believe established businesses have a role to play in helping make that happen.
Successful applicants will gain access to mentorship, hands-on experience, exposure to professional equipment and a better understanding of the realities of working in the sector. The aim is to help students move forward with more confidence, stronger industry awareness and a clearer sense of where their skills could take them.
We are now inviting applications from lighting design and technical theatre students who will be entering their final year of study in September 2026.
Applications for the 2026/27 cohort are open from 13 April 2026 to 8 May 2026.
To find out more about the programme and apply, visit: here
In November 2024, Emma Rose, Centre Manager at the University of Bristol‘s Bristol Centre for Supercomputing (BriCS), asked us to film the arrival of four shipping containers to a building site. This was no ordinary cargo, but the heart of the UK’s fastest AI supercomputer – the £225 million Isambard-AI.
At the mercy of snowy weather and construction logistics, we scheduled a 3 day window to get the shots we needed. Keen to add value and variety for the client, we filmed from the ground and the air. We also set up a portable edit suite in an office in the neighbouring National Composites Centre for fast turnaround edits for social media.
Day one, the snow fell, the camera people filmed, the editor edited and we had a nice 20 second piece to be published on socials on the same day that one of the four containers was craned into place. We even managed a shot of a snowman. Day two, the sun shone and the remaining containers were installed. Day three, we cancelled the final day shoot and instead, back in the office, finished the fast and furious 45 secs story of the build socials piece. Hats off to our in-house editor Nick O’Leary for a top job.
When the University of Bristol posted this film, it outperformed all other content on their social channels within the last 12 months. RESULT!
Since then, in collaboration with new BriCS Communications Manager Emily Coles, we have returned to the NCC site on numerous occasions to film key moments in the installation, typically shooting video and stills at the same time. The drone has been up for a wider view. We’ve shot stills of the key movers and shakers from Hewlett Packard Enterprises and BriCS boss Simon McIntosh-Smith and in March filmed the installation of the actual computer itself, now sitting snugly in a data centre constructed from the shipping containers.
We’ve also workshopped and scripted upcoming Hero and About Us films, which we’ll shoot once the scaffolding is down later in the summer, and attended the Isambard Day conference, with supercomputer experts from around the world, to immerse ourselves in the world of AI and its fascinating use cases, which was great for originating loads of new content ideas to suggest to the client.
All in all, it’s been a fantastic project so far and the perfect fit for us as science and tech content producers who feel personally invested in promoting our region’s innovators and pioneers. Our video production agency has grown from 3 to 7 staff over the last 18 months – meaning we have the capacity to rapidly deploy on jobs both large – like a video strategy for a suite of films, or small – such as sending out a lone videographer for a ‘quick and dirty’ social reel.
This project has also helped to push the boundaries in terms of our shooting and editing style with the high energy final build films (60 sec and 90 secs versions) complete with hyperlapses, super fast cuts and a number of more conventional edits for web headers and conference films. Shout out to Lobster Pictures Ltd. for their timelapses of the whole build from empty car park to finished supercomputer and to Oakland Construction Ltd. for accommodating our film crews.
Thanks to the Isambard-AI team of Emily Coles, Emma Rose and Simon McIntosh-Smith from BriCS and good luck for the big launch of Isambard-AI in a couple of weeks!
In 2011, we first filmed a Dr. Thomas Scott at the University of Bristol‘s Interface Analysis Centre. This summer our latest project with (long since Professor) Tom was the Hot Robotics team’s Cerberus robot. This gave us the chance to spring a sneaky retrospective on him…
Our new ‘Now and Then’ film charts a 14-year journey of Tom on film. But it’s more than a timeline; it’s a masterclass in building the social proof that attracts funding and shapes policy.
For a researcher seeking grants, a start-up or a VC, this is what de-risking an investment looks like. Consistent video storytelling is a key ingredient to transform a brilliant scientist into a trusted leader whose vision you can back with confidence. It creates a track record that speaks for itself.
Professor Scott is a powerhouse for attracting investment and talent because he tells persuasive stories that complement his research groups’ brilliant science and academic graft. Video allows him and his colleagues to articulate the ‘why’ of complex science clearly and succinctly. These days, he makes speaking to the camera look easy; however he’ll freely admit how much his on screen skills have grown since 2011. He’s embraced media training, become a dab hand at teleprompters where required, and always works collaboratively with the production team to get the tone and messaging right.
So watch and enjoy.
Great science deserves a powerful voice. We’ll help you find it.
What does the future feel like before it actually arrives?
Since 2019, our team at Beeston Media has followed the journey of the Bristol Digital Futures Institute (BDFI) as part of wider work for the Bristol Temple Quarter Enterprise Campus. Back then, the Reality Emulator was a futuristic architectural plan, the inspiration of tech visionary Dimitra Simeonidou OBE, FREng, FIEEE from Smart Internet Lab Team and Sociodigital expert Susan Halford FAcSS. It’s now a fully functioning facility, led by BDFI’s Co-Director Daniel Neyland, who we worked with to capture the essence of its potential.
The accompanying film takes you behind the scenes of our shoot. It’s a glimpse into how we approach the challenge of translating high-level science and tech into a visual narrative.
The digital campfire:
While the technical specs are undeniable – a 17-metre curved LED wall (the CAVE), with real-time motion tracking, and a massive data centre, the human side of the tech is what really caught our attention. During the shoot, Richard Cole from BDFI described the Reality Emulator not just as a high-tech tool, but as a digital campfire. For thousands of years, humans have gathered in circles to share stories and make sense of the world. This facility does exactly that for the 21st century.
Whether it’s researchers exploring the lived experience of postnatal depression through immersive ‘inquiry machines’ or criminologists like Sanja Milivojevic testing how trust fluctuates in human-robot teams, the space is designed for collaborative empathy. It’s about suspending reality to imagine a society that is more equal and sustainable.
Boosting the local ecosystem:
As a video production agency rooted in science and tech, we’re motivated by boosting the local ecosystem. We want to see regional and national innovation lead to real-world economic and social impact.
That’s why we get so hands-on with the details. In the film, you’ll see us working with a semiconductor wafer as a physical object to be manipulated in a virtual lab. We included this to demonstrate how the Emulator could be used for interactive training that aligns with UK Frontier Technology priorities. Having enjoyed events such as those hosted by UK Semiconductor Centre and BI Foresight last year, this seemed like a neat tie up.
Directing the sizzle:
Filming a 360-degree immersive environment is a unique puzzle. You’ll see in the BTS footage how we used 360 cameras on poles and GoPro rigs to capture the overview perspective. Our goal was to show the CAVE as a deeply human space, where groups can stand together and imagine possible futures. Huge thanks to Adrian K. T. Ng for his expertise, time and prep to make everything ready for the shoot day.
For all the high-tech wizardry, the most important element in the room is always the people and the questions they are asking.
The final hero film produced for University of Bristol, which shows the facility in full flight, can be viewed here.
Web developers, digital innovators and tech professionals are gearing up for the sixth annual Umbraco Spark innovation conference, returning to Bristol this spring at We The Curious on Friday 20 March 2026. Organised by Bristol digital agency Gibe Digital, the event has become a fixture for developers from across the UK and Europe to share insights, ideas and practical knowledge around the open‑source Umbraco CMS and broader .NET ecosystem
Speaking about the conference, Steve Temple, Technical Director and Co‑founder of Gibe Digital, describes Spark as “a calendar highlight” that brings together “so many talented developers from the amazing Umbraco community.” Steve adds that the event leaves attendees “feeling inspired, armed with fresh knowledge to take your Umbraco projects to the next level.”
This year’s programme features a single main track of deep‑dive technical talks, practical demos and forward‑thinking sessions on topics such as load‑balancing for scalable apps, Umbraco Search, next‑generation back‑office features, and experimenting with AI‑driven accessibility tools.
Schedule Highlights:
Thursday, 19 March – The day before the main conference kicks off with a full-day Hackathon & Package Jam for the community, followed by a pre-party at a local game bar with ping pong, bowling, karaoke, food and drinks.
Friday, 20 March – A Harbour Run at 7 AM starts the day, followed by registration with coffee and pastries. The main track runs 9 AM–5:30PM, featuring technical talks, lightning sessions and demos. The Package Awards celebrate standout contributions, and the day wraps up with an after-party. Attendees also benefit from lunch, refreshments, a free cloakroom, and quiet/multi-faith rooms to support wellbeing.
Tickets & Pricing: Standard tickets cost £150 + VAT, available until the end of February or until sold out. Grab your ticket here.
Umbraco Spark continues to cement Bristol’s status as a hub for creative tech events — combining local community energy with the global expertise of the Umbraco ecosystem.
Aer Studios and Condense have collaborated with BBC Children in Need to bring Pudsey to life in a new interactive 3D experience for this year’s fundraising campaign.
Donors are invited to unlock a playful ‘paw-gmented reality’ moment, where a 3D-captured Pudsey appears in their real environment to deliver a personal thank you. Using only a mobile device, supporters can place Pudsey in their home, move around him, change his size, and enjoy a light-hearted, uplifting interaction created especially for the appeal.
Nick Fellingham, Founder of Condense says, “The BBC Children in Need Pudsey experience reflects the heart of what our technology makes possible. Fun, accessible and engaging moments that bring real 3D performances anywhere. We’re proud to support such a meaningful cause and to collaborate with brilliant creative partners on an experience that feels joyful for donors.”
Tom Harber, CEO at Aer Studios says, “Our mission as a company is to create positive impact through meaningful digital experiences, so when BBC R&D’s FWD team approached us we were really enthusiastic! We’re proud to have created a truly user-centred platform to delight people donating to such a worthwhile cause in a short amount of time.”
The experience has been brought to the fore by the partnership between MyWorld, the creative innovation institute, and the BBC. With an eye on the future application of technology into entertainment spaces, the BBC R&D team identified a potential use for BBC Children in Need following an interactive event during this years’ BTF+.
Claire Hoyle, CEO at BBC Children in Need said: “We partnered with R&D’s FWD team to deliver this as a nice experience for donors and to give them a little bit of extra Pudsey joy. With ‘paw-gmented’ reality you’re not only helping to support children and young people, but you get you a personal visit from the icon that is Pudsey, himself.”
The Pudsey ‘big thank you’ launched during the Children in Need 2025 Appeal and will remain available to experience for anyone making a donation through to the end of January. For a chance to participate visit https://donate.bbcchildreninneed.co.uk/.
You can find out more about the technology behind Pudsey’s Big Thank You on BBC R&D’s website.
By ChatGPT
In November 2025, Epoch published its first flagship report titled ‘Understanding AI: A Deep Dive into Large Language Models‘. You can view the report and a recording of the webinar here. What follows is a summary of this report, written by ChatGPT using our CRAFT prompting framework. We hope it’s helpful.
Epoch’s latest flagship report breaks down the fast-moving world of Large Language Models (LLMs) and what they mean for marketers today. It’s a practical, human-centred guide that explains how these systems work, where they’re useful, where they’re risky, and how professionals can stay ahead as AI becomes woven into every part of our working lives.
1. What LLMs Actually Are
LLMs are essentially very advanced predictive text engines. They’re trained on huge amounts of online text, learning patterns between words so they can predict what should come next in a sentence. They don’t “think” — they calculate probabilities. And because they’re probabilistic, the same prompt may give slightly different answers each time.
They can also be fine-tuned through human feedback, and their behaviour is shaped by parameters (like temperature, token limits, and context windows) that control creativity, length, and style.
2. The Four Types of LLMs
The report outlines a simple two-axis framework (lightweight vs. heavyweight, general vs. domain-specific), giving us four categories:
Plus, there are task-specific LLMs designed for things like transcription, translation, and summarisation.
3. How Marketers Are Using AI Today
This isn’t theoretical — 88% of marketers already use AI daily. The biggest uses cluster into four areas:
To get the most out of an LLM, Epoch recommends the CRAFT method: Context, Role, Action, Format, Tone — a simple way to turn vague prompts into sharp, useful ones.
4. Concerns and Challenges
The report doesn’t shy away from the risks. Key issues include:
But it also stresses a crucial point: AI won’t replace humans — humans who use AI will replace humans who don’t.
5. How to Think About AI
Epoch explores a set of useful mental models — from “jagged intelligence” (AI is brilliant at some things and terrible at others) to “work slop” (the coming wave of low-effort AI content). These help us develop a more balanced, realistic perspective on what AI can and can’t do.
6. The Future of LLMs
LLMs are becoming more capable across four big areas:
They’ll also increasingly live in dedicated hardware — wearables that “see” and “hear” the world.
7. The Human Skills That Will Matter More
As AI takes on structured tasks, timeless human qualities become even more valuable:
In short: AI makes the human parts of our work more important, not less.
GenAI video has been causing quite a stir recently: whether it’s backlash over the tide of AI slop, something being decried as an AI fake (whether it is or not), or an agentic AI business formula that’s made ‘millions’ overnight. Oh, and the ‘ultimate’ prompt-writing masterclass? You’ll have seen all the ads…
But look a bit harder and there’s some really interesting work out there:
One thing is undeniable: AI is going to affect digital industries – the debate around the extent and exact timeline gets far more complicated.
With all that in mind, we wanted to use our yearly Xmas video as a test bed of GenAI, to see what it could do and, importantly, what it couldn’t. And we thought we’d bring you along for the ride…
It all started in August (don’t judge). We had just ironed out our company-wide AI training roadmap and we were updating our AI usage policy. As a creative agency, it felt like we were taking real leaps forward. But it also gave our creative studio a lot to think about. We each mulled over our own questions around authenticity and the future of creative production (the part of our job many of us love most of all).
So we got our heads together and talked about how we should be doing things. What we arrived on was that creative thinking, sketching, scribbling, chatting, tinkering, and FUN should all be ring fenced and given the time they deserve. That’s why we decided to collaborate on a brief so ambitious and outlandish it simply had to work.
It should no longer come as a surprise that typing a basic prompt into AI engines only leads to AI slop.
So, before we even touched a computer, we came up with a basic concept – the ultimate tongue-in-cheek pastiche of Christmas perfume ads – and then had a mass brain-storming session where we asked the whole company for their craziest ideas. And boy did they deliver!
In a short space of time, we had suggestions ranging from a simple Xmas magic box to rivers of gravy, something about a unicorn that didn’t quite make the final edit, and the perfect name – ‘Sléj’ (pronounced as ‘slay’, obviously).
Our copywriters pulled the ideas together into a script, using a knowledge of Christmas-related puns that took a lifetime (or previous life editing rather niche magazines) to develop.
This isn’t the place to be overly reliant on AI. Allowing people free reign to throw stuff at the page works well. Importantly, don’t shut down ideas too early. The most unlikely suggestions can get workshopped into something surprising and brilliant.
This could turn into a whole blog by itself. More than any other, this stage will determine the look of your film so the more references you can include the better.
It’s crucial to find references that you have rights to both use and pass to a third party – in this case, an AI model.
For this reason, we used Generative AI to generate our reference images, feeding the output images back into the AI multiple times and asking for tweaks and refinements.
This produced a combination of a storyboard and multiple accompanying style frames (high-quality images that give a good overall feel for what the video will look like once animated).
You’re aiming to find references for each part of the shot you want to generate, for example the setting, tone, pose, character and composition etc. You want the AI to have as much information as possible and limit how much it figures out by itself.
We quickly learnt that there isn’t one AI model to rule them all, with different options performing better for different tasks. We’d highly recommend experimentation here to find which works best for your requirements.
Using detailed prompts and the bank of reference images we had gathered for each shot, we generated our footage. Prompts were written in a similar way to how we’d add
notes on a storyboard, i.e. ‘camera push in’, ‘talent to walk across frame left to right’, ‘high-key lighting’ etc but they also included additional things that wouldn’t usually be directable without heavy VFX work, i.e. ‘swirling wind kicks up dust behind legs’.
The point here is to think like a filmmaker and art director, you need to be able to supply image references but, just as importantly, you need to be able to articulate what you want to see in the frame. Playing AI like a slot machine will lead to slop.
In the same way that you rarely edit footage together straight out of the camera, generative video will almost always benefit from some post work. Again, this is a place to add further human touches that a text box often doesn’t offer. This could be reframing, changing the colour, or in/out painting of items in the scene.
Editing and sound design is another area where, as far as we’re concerned, humans just can’t be beat (not yet). Editing – the process of deciding where to push and pull those beats and gaps – and sound design are very much a process of creating a feeling and mood.
As with traditional film making, have in mind what you want to see. Those hard-won post skills still have lots of value.
It would be remiss not to briefly discuss some of our thoughts behind the ethics of our experiment.
The ethics of AI are extremely complicated. As with most things, a simply binary choice may feel tempting, and at times compulsive, but this rarely does justice to the many nuances of a topic. There is so much for every individual and organisation to consider, and I’d argue the often-discussed environmental and job-replacement angles are just the beginning.
For further information I’d highly recommend:
For me, I think After Effect’s AI roto-brush sums up a lot of the debate:
https://www.youtube.com/watch?v=cXMTHe8z6Tw
So, how do I feel about the finished video? I think the team have done a great job of making a whimsical and audacious Xmas vid with just the right level of self-awareness. And with a level of production that, prior to GenAI, our budget simply wouldn’t have stretched to.
I also hope it’s as clear to you, as it is to me, that we couldn’t have come anywhere close to the result without the thought, skill, talent and humour that went into it from right across the agency.
And how do I feel about AI? It’s complicated…
At P+S, we’ve spent over 15 years delivering enterprise Drupal solutions. We’ve seen the good, the bad, and the painfully slow. That’s why we created the P+S Drupal Starter Site – a modern, headless, editor-friendly solution that gets you to market faster than ever.
Drupal is one of the most powerful content management systems (CMS) available today. It’s trusted by governments, global enterprises, and mission-critical websites to manage:
Unlike many SaaS-based platforms, Drupal gives you complete control:
And thanks to its modular architecture, Drupal isn’t just for websites. It can power e-commerce, employee, customer or partner portals, learning platforms, and more – all from the same backend.
“We’ve gone ahead and created a custom Drupal distribution that changes EVERYTHING. It’s a production-ready Drupal backend, preconfigured in alignment with best practice. Content structures, SEO tools, and accessibility are all baked in and ready to go.”
Despite its power, Drupal has long had two major drawbacks:
Many organisations end up trading control and flexibility for a quicker launch and better editorial UX elsewhere – even if it means compromising in the long term.
A traditional content management system (CMS) bundles two things together: the backend where you create and manage your content, and the frontend – the design that displays it to visitors. Everything comes as one package.
When everything is bundled together, making changes becomes difficult and expensive.Want to redesign your website? You might need to overhaul your entire system. Want to create a mobile app using your existing content? You’ll likely need to start from scratch. Need faster loading times? You’re limited by what the whole system can handle.
A headless CMS separates content management from website design. You still have a user-friendly interface to create and organise your content, but the content isn’t tied to any specific website design.
Instead, your content is made available through an API. This gives us the opportunity to match our clients with the best possible solution that delivers all the benefits of Drupal, along with design, flexibility and usability that rivals any other CMS.
We’ve gone ahead and created a custom Drupal distribution that changes EVERYTHING. It’s a production-ready Drupal backend, preconfigured in alignment with best practice. Content structures, SEO tools, and accessibility are all baked in and ready to go. This means it solves most of your needs right out of the box.
In short: an enterprise-ready, headless Drupal solution that’s as quick to launch as a WordPress site, but far more powerful.
Our starter site is designed to eliminate the two biggest historical issues:
We care as much about your editor experience as your end-user experience.
Next.js gives us everything we want in a modern frontend stack:
Next.js helps your website load incredibly fast. And that’s important; faster pages mean a better user experience and can lead to more conversions.
Next.js is built to help your content get found on Google. It gives you the tools to rank well in search engines, which is essential for attracting the right audience.
Since the CMS backend is decoupled and not publicly exposed like traditional CMS systems, it’s far less vulnerable to direct attacks.
From subtle transitions to full-screen motion graphics, Next.js handles complex animations with ease. The kind of high-impact visuals that turn heads and boost engagement.
Whether you’re launching a single marketing site or a multi-brand, multi-region platform, Next.js scales beautifully both in architecture and in performance.
By going headless, we can deliver content not just to the web, but to mobile apps, digital kiosks, voice assistants, AI agents, and more — all from a single source of truth.
For B2B marketing sites, it means fast load times, a flexible design system, and future-proof technology.
Despite the advantages list above, headless Drupal often comes at the cost of the editor experience.
We’ve created the headless Drupal CMS we all want, need and deserve:
It’s time to empower your team and future-proof your stack with complete control – and faster than ever.
To learn more about how the P+S Starter Site can transform your next digital project and explore all your CMS options, get in touch: [email protected]
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