Experiential Producers Room Comes to London

What started in New York has crossed the Atlantic.

Last week, the Experiential Producers Room hosted its first London gathering at Protein Studios in the Shoreditch Design Triangle, bringing together experiential producers, creative operators, strategists, fabricators, agency leaders, artists, cultural programmers, and independent makers from across the UK and beyond.

Experiential production has always been an unusually international practice. The agencies may compete, the clients may change, but the work is remarkably similar wherever you go. We build temporary worlds. We choreograph bodies through space. We solve impossible problems on impossible timelines. We become experts in places that won't exist a week later.

Yet there are surprisingly few places where experiential producers can simply meet one another without a brief, a pitch, or a deliverable waiting on the other side.

That is what the Experiential Producers Room was built to be.

The evening began, as every EPR gathering does, with a collective breath.

Not because breathing is novel, but because it's easy to forget that our work is ultimately about bodies in rooms. Before we're producers, strategists, fabricators, account directors, or creative leads, we're people trying to make meaningful experiences for other people. It felt right to begin there.

The rest of the evening unfolded slowly. Conversations stretched across disciplines. Agency producers spoke with independent artists. Fabricators met strategists. Newcomers met veterans. Introductions became ideas. Ideas became future collaborations.

That's the rhythm EPR is trying to protect.

We're deeply grateful to Protein Studios for hosting us, to the wonderful team at Bacchus for the drinks and hospitality, and to KSS for creating such a beautiful atmosphere through sound and lighting.

What began as an experiment in New York is becoming something much larger: a growing international community for experiential producers and the people who shape live experience.

The Room now spans New York, London, and an active online community connecting experiential professionals across North America, South America, the UK, Europe, and beyond. Between gatherings, members share production advice, vendor recommendations, opportunities, introductions, and the kinds of hard-earned knowledge that rarely make it into case studies.

If you're an experiential producer, event producer, creative producer, production manager, strategist, fabricator, artist, or anyone working to bring live experiences into the world, we'd love to meet you.

The next EPR London gathering is planned for October. New York returns soon after. The Room is just getting started.

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Experiential Producers Room Gathers for the Second Time in NYC

On the Room

Touch is the embodiment of a sense that acquiesces to the unchartable qualities of a body in motion. Erin Manning wrote that. I've been thinking about it in relation to what those of us in experiential do and why it's so difficult to name.

I came to this field from fine art. Installation, film, gallery pieces. The phenomenological questions that drove my practice: how bodies move through space, how encounters register somatically, how meaning accrues not in the mind but in the flesh. These turned out to be the same questions at the heart of experiential production and design.

Most experiential folks arrive here laterally. Party promoters who became producers. Sculptors who became fabricators. Designers who became creative directors. Artists who became account managers. Journalists who became reps. We learn on the job, in the gap between the brief and the build, solving problems that didn't exist until we were standing inside them. What we share is not a credential but a practice. And a practice that is fundamentally cinesthetic: embodied, sensuous, irreducible to its documentation.

Experiential Producers Room gathering at Wythe Hotel in Williamsburg, Brooklyn, NY. May 4, 2026

We produce bodies moving in space. We set the conditions for encounters that register as lived memory: as wonder, as awe, as the particular charge that comes from being in a room where something real is happening. Laura U. Marks calls this haptic visuality: the way certain images and experiences invoke a tactile response, collapsing the distance between observer and event.

Experiential production, at its best, is that collapse.

I started the Experiential Producers Room because the field lacked a space where this could be spoken about directly. Not another industry platform where there's pressure to perform certainty, but a low-noise room that functions more like a threshold than a conference, where distinct practices and people overlap and something new becomes possible.

Last month, close to 200 experiential producers, creative operators, strategists, fabricators, cultural programmers, agency leads, artists, and makers gathered on a garden terrace at Wythe Hotel in Brooklyn as the sun went down over the city.

I stopped the party at its peak and asked everyone to breathe with me.

Because it's easy to forget what we actually do and what we actually are: bodies in space.

That's the Room. And it's growing delightfully — next up for the EPR—IRL: London.

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