Brighton’s Xmas swim

Hundreds of people took part in the traditional Brighton Christmas Day swim this morning, braving the weather, the shingle beach and a brisk sea. Participants, many wearing Santa hats or other festive gear, gathered on the beach from mid-morning as anticipation built. At 11 am the excitement peaked, with shouts of pain and delight as swimmers charged into the sea - around 11°C - before dashing back out almost as quickly!

Brighton and Hove City Council had issued strong safety warnings ahead of the swim, stressing that people should exercise extreme caution if they chose to enter the water. Officers advised checking weather and sea conditions and highlighted the risks of cold water, strong currents and the steep shingle slope on Brighton’s beaches (which can make entry and exit awkward). The council’s guidance stressed that only very experienced swimmers with suitable equipment should consider entering the sea, and it warned there would be no lifeguard cover at this time of year. Nevertheless, there was some lifeguard presence. 

The Brighton Christmas Day swim is an informal tradition with deep local roots. It forms part of a wider pattern of festive sea dips around the UK. Community swims in Brighton have been noted since at least the late 19th century and have usually taken place on Christmas morning at around 11 a.m., even without formal organisation. There are many other such festive swims across the country, but this year several in the West Country have been cancelled due to weather conditions - see the BBC.

No burning of the clocks

Brighton’s Burning the Clocks will not take place today, 21 December. Same Sky, the community arts charity that created and runs the event, says 2025 will be a ‘fallow year’ to concentrate resources and secure the organisation’s long-term future amid funding pressures, with a full return planned for 2026.

For three decades, Burning the Clocks has been Brighton’s distinctive winter-solstice ritual: a lantern procession through the city centre, ending with a ceremonial burning on the beach and a fireworks finale. It began in the early 1990s as an alternative to the commercial Christmas and as a secular, inclusive community celebration ‘regardless of faith or creed’. Lanterns are traditionally made from willow (withies) and tissue paper, and the parade’s costumes and imagery revolve around time - often with clockfaces - while changing theme year by year to keep the symbolism fresh.

In recent years, the event has embraced an idea of ritual: months of workshops, schools and families building lanterns; a massed, volunteer-led procession; then the moment on the shingle when hundreds of handmade lights are surrendered to flame as the year turns. Same Sky describes the burn as a collective letting-go - people investing lanterns with hopes, wishes and fears before passing them into the bonfire. 

The modern run of Burning the Clocks has also been shaped by disruption. Severe winter weather forced a cancellation in 2009, and the festival later lost two consecutive years to the pandemic era; in 2021, organisers cancelled again as the Omicron wave accelerated and national restrictions tightened. The returns that followed carried an added charge: the same streets and seafront route, but with an obvious emphasis on reconnection and participation after enforced gaps. 

Themes have become the event’s way of threading topical meaning into the fixed solstice format. In 2021, the announced theme was ‘All Animals’, inviting reflection on shared life and the time spent apart - though the parade itself was ultimately called off that year. In 2023, publicity around the event highlighted ‘Clocks’ explicitly as the organising motif, aligning the lantern-build with timekeeping imagery. In 2024, organisers announced ‘Voyager’, framing the procession around journeys and the city’s welcome to people on their own voyages, while keeping the traditional solstice structure. 

This year’s cancellation is different in tone: not a safety call made days ahead, but a planned pause. Same Sky is still marking the date with a public display in central Brighton today: a large lantern sculpture designed and built by associate artist Nikki Gunson. The organisation has already commissioned the 2026 effigy and named the theme ‘Magicada’, using the cicada idea - rest followed by a loud re-emergence - as a metaphor for the event’s return.

See Visit Brighton and Crowdfunder for pics.

The Punch and Judy tradition

Punch and Judy arrived on Brighton Beach during the great 19th-century seaside boom and quickly became part of the town’s visual identity. The glove-puppet act that Samuel Pepys first recorded in his diary in 1662 had, by the 1840s, settled into the striped booth familiar from Brighton’s early tourist prints. Local collections hold mid-Victorian puppets explicitly labelled as part of a ‘Brighton Beach’ tradition, and by the Edwardian years a Punch and Judy booth pitched on the shingle with Palace Pier behind it was one of the resort’s standard postcard subjects.

Brighton’s own performers helped weld Mr Punch to the shoreline. A Punch and Judy was once performed by royal command for Queen Victoria at the Royal Pavilion. The West Pier and the promenade around it became the recognised pitch: oral histories, home movies and postcards consistently show a little theatre set up between the West Pier and the bandstand, children in the front row and parents watching from deckchairs. Well into the 20th century a Punch and Judy booth was as dependable a seafront sight as donkeys, kiosks or deckchairs.

Glyn Edwards (see this YouTube recording) became the modern custodian. First captivated by a show under the West Pier in the 1940s, he began performing his own Brighton show in the late 1950s and spent more than half a century working the front. His ‘Original World Famous Brighton Punch and Judy’ effectively made Brighton one of the tradition’s national centres; for decades his striped booth was a summer constant between the piers and later outside the West Pier Centre. Edwards gradually stepped back in the 2010s, giving only occasional performances for heritage events before retiring fully. He died in 2022.

Beginning in 1974, Mike Stone (often known as ‘Sergeant Stone’) operated a classic booth on the beach for around 25-30 seasons - see  My Brighton and Hove). Although he overlapped with Edwards, their roles were different: Edwards was considered the tradition’s public champion, museum/heritage presence, national advocate, long-term ‘brand’ figure. Stone, however, was the day-to-day beach showman, delivering regular summer performances to holiday crowds throughout the 70s, 80s and 90s.

Today the active public-facing Brighton Punch and Judy presence is carried by newer performers, notably Professor Dill, who presents traditional shows under the Brighton Punch and Judy name and keeps the craft visible on the seafront during events and summer bookings. Alongside him, the Brighton Fishing Museum maintains a permanent Punch and Judy display in the old fishing quarter, while the West Pier Trust continues to use Mr Punch as a lively ambassador for seafront heritage through exhibitions and occasional performances. The shows themselves are brisker and a shade gentler than their Victorian forebears, but the essentials - the swazzled voice, slapstick, crocodile and baby - still float out over the shingle.

See also: Brighton Toy and Model Museum; The Guardian; Mary Evans Picture Library; The Regency Society (b&w pic); West Pier Trust; Wikipedia.

Where have all the punters gone?

The Christmas season in Brighton is gathering pace: the Palace Pier tree is up (see yeterday’s post), the promenade lights are on, and this week three very different Santas have announced their festive plans - one greeting families high above the city, one in the heart of the pier, and one welcoming children beside the lifeboats. 

Brighton i360 has unveiled its full programme, with ‘Santa in the Sky’ returning from 11am on selected dates. Flights are scheduled hourly, and each visit promises a meeting with Santa in the clouds, a small gift, photographs, and the satisfaction of being, as the blurb puts it, on Santa’s nice list this year. Tickets for adults are £23.50, with the pod transformed into a mid-air grotto and Santa surrounded by elves and decorations.

For families wanting a longer experience, the i360 is also offering ‘Breakfast with Santa’, a one-hour event starting at 09.00 in the Drift restaurant. A full English breakfast comes with juice or a hot drink, and children can decorate their own bauble, write a letter to Santa, and post it via the ‘Northpole post box’. After breakfast the whole group takes a pod flight at 10.00 to meet Santa in the Sky, with gifts and photo opportunities included. Adult tickets are £32.50.

Down on the seafront the Palace Pier is running its own grotto in the Palm Court Restaurant, with Santa in residence on selected December dates. Families can book a traditional pier-side visit, complete with the arcade lights, deckchair colours and winter sea views that are part of Brighton’s festive backdrop. It offers a more classic, ground-level encounter for those who prefer Santa without the altitude.

Across town Santa will also be putting in a shift at Brighton RNLI, whose volunteers are once again running their own grotto experience inside the lifeboat station. The photographs used in their promotion - Santa in full costume, perched cheerfully beside the D-class inshore lifeboat, yellow wellies and all - underline the RNLI’s characteristically practical approach to Christmas. Families can book timed entry slots, meet Santa in a working coastal rescue environment, and support the lifeboat station’s fundraising at the same time.

Although the three events could not be more different in setting - one 450 feet in the air, one on the pier, and one at beach level beside the Atlantic 85 - all speak to the variety of Brighton’s seasonal offerings, and to how central the Santa visit has become to local December traditions. 

Between the i360’s cloud-level grotto, Palm Court’s pier-side classic, and the lifeboat station’s shoreline version, one might wonder if the place wasn’t over-run with Santas, and whether there are any actual punters left!

Hove Lagoon watersports

On a bright salt-washed morning the blue clubhouse of Lagoon Watersports beside Hove Lagoon looks almost theatrical, its white lettering impelling passers-by to learn, improve, progress. The building, raised slightly above the path and fronted by a tangle of kayaks, Pico dinghies and wakeboard gear, has become one of the most recognisable structures on the Brighton Beach seafront. What began as a modest watersports base more than thirty years ago is now woven into the daily life of the lagoon and the lives of thousands who first stood on a paddleboard, hauled a sail upright or felt the sudden tug of a wake-cable here.

Lagoon Watersports was formally incorporated in 1989 and has been run by the same management since the mid-1990s. Its chosen setting, Hove Lagoon, is an artificial remnant of the old Salt Daisy Lake, a brackish hollow that was gradually formalised during interwar landscaping of the Kingsway (see Brighton Toy Museum website which is also the source of the photograph below). The company turned this shallow, wind-swept waterbody into a training ground for beginners, school groups and would-be sailors. Over the years its programmes expanded across two sites - sheltered lessons and wakeboarding at the lagoon, and yacht sailing and power-boat sessions from Brighton Marina.

The lagoon has regularly thrown Lagoon Watersports into the local press. When the first cable-tow wakeboarding system went live in 2011 it drew a flurry of interest as one of the earliest installations of its type in the UK. By 2013 the centre was running three cables, including a beginner line and a rail section that drew riders from across the region. Newspapers ran bright, summery photographs of young wakeboarders skimming across the lagoon, a striking contrast to the placid model-yacht scene once associated with the site.

There have been quirkier stories too. One Argus report captured the arrival of paddleboard yoga on the lagoon, describing early sessions wobbling across the water. Another covered a women’s watersports day that saw first-timers taking to kayaks and paddleboards in breezy conditions, relishing the sense of achievement even when the wind and chop made the lagoon feel more like open sea. These sat alongside the regular run of charity challenges on icy January mornings, youth groups completing multi-sport days in howling south-westerlies, and the occasional windsurfer being blown clean across the lagoon and into the reeds, to the delight of watching schoolchildren.

The company’s daily rhythm sees staff usher in wetsuited school groups, kayaks carried to the slipway in lines, and the wake-cable’s soft mechanical hum drifting across the water whenever conditions are calm. The blue clubhouse stands at the heart of it all, part workshop, part briefing room, part symbol of Brighton and Hove’s multivarious beach culture.

The veteran run to Brighton

At sunrise this morning, more than 400 pre-1905 motor cars were scheduled to set off from Hyde Park for the 98th London to Brighton Veteran Car Run, the world’s longest-running motoring event. The run commemorates the original ‘Emancipation Run’ of 14 November 1896, which celebrated the passing of the Locomotives on Highways Act. That law raised the speed limit for light locomotives from four to fourteen miles per hour and abolished the requirement for a man with a red flag to walk ahead of every vehicle.

Organised by the Royal Automobile Club, this year’s event covered a route of about sixty miles, following the traditional course from London through Croydon, Redhill, Crawley and Burgess Hill before descending into Brighton. It is not a race: the event is open only to vehicles built before 1905, and every entrant who crosses the finish line within daylight is considered a victor. The finishing stretch took the cars directly onto the Brighton seafront, Madeira Drive once again serving as the ceremonial end-point. 

The run’s tradition of finishing on Madeira Drive dates back to the early 1900s, when the event was revived after the First World War. Over the decades it has only rarely been interrupted - by fuel shortages, war, and once by the pandemic. This year’s run also honoured the 125th anniversary of the Royal Automobile Club’s 1000-Mile Trial of 1900, another milestone in the story of early motoring. 

This morning’s first arrival on Madeira Drive was vehicle number 046, a 1900 Renaux tricycle driven by Clive Pettit (picture at top). The lightweight three-wheeler crossed the finish line just before 11 a.m., its simple design and reliability giving it an early advantage on the 60-mile run. The second vehicle and the first four-wheeled car to reach the seafront was number 018, an 1898 Stephens dogcart (pictured above), which rolled in at exactly 11 - later than usual, possibly because of early morning bad weather.

The run has acquired its own folklore. Many entrants and passengers dress in Edwardian costume; breakdowns are frequent and often met with good humour and clouds of steam; and the sound of sputtering engines and brass horns evokes the infancy of motoring. The 1953 film Genevieve (see film still) has immortalised the event’s charm and chaos, and even today the scene of creaking, smoke-puffing machines rolling into Brighton beneath the cliffs of Madeira Drive retains something of that cinematic magic. 

Among the machines entered in this year’s London to Brighton Veteran Car Run are: 

- an 1894 Benz, a single-cylinder 1.5 horsepower pioneer from Germany driven by Hermann Layher, its exposed brass fittings and carriage-style tiller steering embodying the dawn of motoring; 

- an 1898 Léon Bollée, the elegant French tricar whose sloping body and chain drive reflecte the ingenuity of fin-de-siècle engineering;

- the British Motor Museum’s 1899 Wolseley, one of the earliest four-wheelers designed by Herbert Austin;

- a newly restored Opel Darracq making its debut, representing a rare Franco-German collaboration from the earliest years of the automobile.

Deaf Mosaic

The arches along Brighton seafront recently hosted a striking exhibition, Deaf Mosaic, which celebrates deaf culture and the many ways deaf people contribute to society. Created by award-winning photographer Stephen Iliffe, the project brings together 35 portraits of deaf people from all walks of life, each accompanied by their story. The exhibition was on show at the Brighton Seafront Gallery, 54 Kings Road, last September, forming part of Flarewave 2025, a deaf-led arts festival supported by Arts Council England and Brighton & Hove City Council.

Iliffe, who is himself deaf, has worked to challenge stereotypes by rejecting the outdated medical view of deafness and affirming the ‘social model’ instead - that barriers come not from deafness itself but from the structures of hearing society. His work has already been exhibited at the National Portrait Gallery and Kings Cross.

Two of the portraits on display carry a particularly strong connection to the city’s seafront. One features TV chef Scott Garthwaite, better known as Punk Chef, who poses outside his food van with the words ‘Punk Chef’ in bold pink across the windscreen. He recalls that when he first entered the profession, ‘kitchen chefs didn’t see my abilities, only my deafness’. He has since had the last laugh, working in top restaurants and becoming an award-winning television chef. The image is set against the wide horizon of Brighton beach, with the remains of the West Pier visible in the background.

Another portrait shows long-distance swimmer Andrew Rees fresh from the water, with Brighton Palace Pier behind him. Rees, a management accountant, trains by swimming between the two piers, but he is also a Channel veteran. In 2016 he became the first deaf person to swim the 34km from Dover to Calais, enduring gale-force winds, rough seas and shoals of jellyfish. ‘Nothing great is easy’ was his motto, he explains, and after 15 hours in the water he finally made it to France.

Both portraits encapsulate the exhibition’s central message: that with the right support, deaf people can achieve anything. Brighton’s seafront, with its open vistas and historic landmarks, can be viewed as a fitting stage for these affirmations of resilience and talent.

Yoga, breath, and spines aligned

For those who like their yoga al fresco, Brighton’s beach offers a mix of weekly classes and one-off events along the seafront, from Hove Lawns to east of Brighton Pier. Local operators list regular outdoor sessions during fair weather, typically switching indoors or cancelling when wind and rain close in. One provider’s current schedule shows Monday morning flows on the pebbles behind the Meeting Point Café, a Thursday evening session on Hove Lawns opposite Brunswick Square, and additional park or seafront slots mid-week. A separate sunrise strand runs weekly through the summer at Rockwater in Hove, with a fallback to the indoor lodge if conditions turn. 

The city’s volunteer-led scene also includes an annual ‘Yoga on the Beach’ day beside the i360, featuring back-to-back classes from local teachers and suggested-donation pricing to raise funds for community wellbeing projects. Tourism listings continue to flag beach and outdoor yoga as a Brighton staple, and commercial platforms are advertising 2025 dates and times, suggesting steady demand for sea-air sessions as autumn sets in. See Brighton Yoga, Studio iO, Brighton Natural Health Foundation; and here’s a ditty to pass the time, by ChatGPT.

Yoga on the pebbles

On Brighton’s stones, the mats are spread,
A stretch of spines, a lift of head.
Gulls keep off - know the score,
Those spiky fences guard this shore.

The pebbles jab, but none complain,
They breathe it out, release the pain.
The sea rolls in with measured tone,
A metronome of waves on stone.

Cobra rises, shoulders tall,
A chorus line along the wall.
The water bottles gleam in rows,
As steadfast as the students’ pose.

The sea rolls in, a patient guide,
It hums its mantra, tide by tide.
So Brighton’s beach becomes a shrine,
For yoga, breath, and spines aligned.

Skyline’s Brighton bike event

A crisp Sunday morning yesterday saw over four thousand or so cyclists gather at Clapham Common to start the Skyline London‑to‑Brighton Cycle Ride. Riders set off in staggered waves, carrying energy and strong fundraising ambitions. The 55‑mile route wound through leafy Surrey lanes, passing Banstead and Haywards Heath before climbing the mile‑long Ditchling Beacon atop the South Downs. Cresting the Beacon rewarded participants with sweeping views and a fast descent to Madeira Drive on Brighton’s seafront, where cheering crowds and medals awaited.

Skyline’s event has run for about fifteen years, operating under the Skyline Events banner, a charity-focused organiser that partners with many different causes. Riders pay a registration fee (currently £55) and commit to a minimum fundraising target (usually £150) for their charity of choice. The route, now well-established, typically moves from city streets to quieter country lanes, up and over the South Downs, and on to the finish in Brighton. Logistics include comprehensive sign‑posting, resident notifications along managed sections, mechanical support, and first aid. While the ride has grown in size and visibility, it remains smaller and more inclusive than the long-running BHF equivalent.

For context, the British Heart Foundation (BHF) London‑to‑Brighton Bike Ride, founded in 1976, attracts up to 14,000 participants and raises over £1 million each year. The BHF ride is a Father’s Day institution, with closed roads and major media coverage. (See 14,000 cyclists on Madeira Drive.) Skyline’s event offers an alternative autumn date and a wider mix of charity partners - such as Great Ormond Street Hospital, Breakthrough T1D, and the MS Society - providing more opportunities for different participants and causes. While the BHF version is known for its scale and road closures, Skyline favours inclusivity and a diverse range of abilities, giving the event a friendlier, less daunting atmosphere.

According to Yahoo News, riders in yesterday’s ride came from all walks of life and raised funds for a wide range of charities. Jonathon Gilchrist, 32, from London, called the ride ‘tough but really fun’, saying Ditchling Beacon was the hardest part and that he was riding in support of Hackney Foodbank with colleagues. Mairi Beasley, 27, also from London and new to cycling, said it was ‘amazing’ and praised the ‘huge sense of community’; she was raising money for Mind UK. Four friends from Wokingham - Simon Fawkes, Steve Simmons, Ian Stewart and Brian Allan - completed the route without stopping at the Beacon and raised £2,500 for Yeldall Manor, a drug and alcohol rehabilitation centre.

Brighton Speed Trials

The Brighton Speed Trials, widely recognised as the world’s oldest motor race and a truly unique part of British sporting heritage, would have been unfolding this weekend were it not for the Brighton & Hove Car Club having permanently axed the event in 2023 - because of mounting costs and growing safety concerns. In 1905, Sir Harry Preston, a visionary entrepreneur (see Brighton Beach as runway), persuaded Brighton’s town council to surface the road by the beach with the then-novel material of tarmac, creating a perfect strip for speed contests at a time when the car was still a freakish newcomer.

The very first trials ran from 19-22 July 1905 as part of Brighton Motor Week, with cars heading west from Black Rock to the aquarium and motorcycles contesting over a standing start mile. The spectacle drew over 400 entries, including Charles Rolls - later of Rolls-Royce fame - and the indomitable Henri Cissac, a Frenchman who set world records for both the flying kilometre and standing mile, chalking up speeds then considered sensational. Dorothy Levitt, the pioneering ‘fastest girl on earth’, made her mark as well. The appetite among the motoring and local population was enormous, but grumbling ratepayers challenged the cost and, after just one memorable week, the Trials fell silent for eighteen years. (The image above is from Wikipedia, and the image below from the Brighton Toy Museum.)

When the starting flag dropped again in 1923, it marked the beginning of a golden era. Now running eastwards, and organised by the Brighton and Hove Motor Cycle and Light Car Club, the Speed Trials attracted hundreds of entrants and ever-growing crowds. By the early thirties, the realisation that Madeira Drive - owned by the Corporation and not subject to national bans on racing - enabled the sport to continue in Brighton even as prohibition bit elsewhere. Legendary duels were fought out on the seafront: Sir Malcolm Campbell, in his supercharged Sunbeam Tiger, pipped John Cobb and his giant Delage in 1932, surging past the finish at 120mph and etching a new car record into the event’s folklore. Motorcycles quickly claimed their share of headlines, too, with heroes like Noel Pope pushing the flying half-mile to ever-more astonishing speeds.

Throughout the twentieth century, the Brighton Speed Trials became known both for their intense spirit of competition and the intimacy of the experience. The course, framing the roar of engines with the sweep of the Channel and overlooked by the terraces, allowed crowds to get close - sometimes breathtakingly so - to drivers and machines that spanned everything from cherished hobby cars to fearsome engineering feats. The event was not without its perils or its interruptions: racing bans, war, the 1970s fuel crisis, and persistent debates about safety and cost all threatened its future. In 2012, a fatal incident led to a fresh council review, and it was only after vigorous campaigning that the Trials returned in 2014.

The enduring appeal of Brighton’s unique sprint lay in its accessibility to amateurs and legends alike and its position at the heart of the motoring calendar, frequently described as the most important speed trial in Britain. It survived for generations not just as a contest of speed, but as an event with a fierce and affectionate following, a living pageant of engineering, camaraderie, and spectacle. By the early 2020s, the Trials continued to draw large fields and fast cars, but mounting costs - new road layouts, revised safety standards, security measures, and logistical demands - combined with financial losses led to their reluctant cancellation after the 2023 edition. Although the event ended with immense sadness from participants, organisers, and supporters, the Brighton Speed Trials’ place in sporting history remains assured. (See also My Brighton and Hove, Wikipedia and Autosport.  For some 1947 photographs see Dacre Stubbs Photo Collection.)

Ace Cafe Reunion

The Ace Cafe Reunion returned to Brighton today, bringing thousands of bikers to Madeira Drive for a spectacle that has become one of the city’s most distinctive annual gatherings. The event began in 1994 when Ace Cafe London, a legendary biker hangout on the North Circular, marked its rebirth after decades of closure by organising a ride-out to the seafront. Since then, every September, the Ace Cafe Reunion has seen riders thunder down from the capital to the coast, recreating the Rocker spirit of the 1950s and 60s.

The Ace itself first opened in 1938 as a transport cafe serving lorry drivers, but its position beside a major arterial road made it a natural magnet for motorcyclists. After the war, it became synonymous with Rockers, leather jackets, jukeboxes and the rise of teenage rebellion. Racing from cafe to cafe along the North Circular became notorious, and when the Ace closed in 1969, it passed into legend. Its relaunching in 1994, and the annual Brighton ride-out, cemented its place in modern motorcycling culture. (The three Harley-Davidsons parked on the pavement in the photo above are: yellow on left - Street Glide/Electra Glide; green in middle - Softail Fat Bob; and red on right - Sportster trike conversion.)

Madeira Drive has long been associated with motor events, from the 1905 Brighton Speed Trials to Mods and Rockers in the 1960s - see Mods and Rockers clash in the 60s. The reunion has sometimes stirred memories of those rivalries, especially when police have warned about antisocial riding or unofficial late-night gatherings spilling over. But the day itself is now an organised celebration, complete with trade stands, live music, and bikes of every possible make and style lined up along the seafront.

Quirky traditions abound. It is said that the first year’s Brighton run ended with bikes parked so tightly on Madeira Drive that some riders couldn’t retrieve theirs until nightfall. Another year saw complaints about burnouts on the promenade leaving black scars on the tarmac. More recently, council restrictions and road closures have occasionally caused tension between organisers and the city, but the event remains a highlight in Brighton’s busy calendar, attracting international visitors as well as locals.

Today, as a band played from a truck stage and the sun lit up the line of machines stretching towards the Palace Pier, it was easy to see why the reunion endures. The Ace Cafe’s story is one of survival and reinvention, and each September in Brighton it finds fresh expression in the roar of engines on the seafront.

Brighton triathlon - no swim!

Brighton’s big swim-bike-run became a run-bike-run this morning after organisers cancelled the sea swim overnight on safety grounds. TriBourne Multisport Events said a review with the swim safety team and the latest forecast left ‘no doubt the swim conditions will be too rough’ as waves were set to build through the night. The decision turned all adult triathlons into duathlons and scrapped the standalone 1,500 m swim.

Racing still began on time off Hove Lawns with revised formats. Standard distance athletes started with a 5 km run before the 40 km closed-road bike and the usual 10 km finish; sprint athletes opened with a 2.5 km run before a 20 km bike and 5 km run (see photos); TriStar and super-sprint waves rolled straight out of transition on the bike; the aquathlons became 10 km and 5 km runs; and the 1,500 m swim was cancelled with refunds or deferrals promised. Duathlon waves were folded into the main beach starts at 9:30 for sprint and 9:40 for standard.

The event’s modern history dates from 2016 when, supported by the council, the city hosted its first Brighton & Hove Triathlon on Sunday 11 September, centred on Hove Lawns with a sea swim, closed-road bike laps and a promenade run. By 2019 the weekend drew more than 1,600 competitors across children’s and adult races and even hosted British Age-Group qualifying, cementing its place on the calendar. This year was billed as the biggest edition yet, with the familiar fast, flat, traffic-free loop on the seafront.

Conditions in the Channel have been a recurring talking point locally, but today’s change was about surf height rather than water quality. Previous concerns have included bathing water standards, with citizen-science testing of Hove seawater year-round reflecting the scrutiny on coastal bathing waters (see Brighton and Hove News). Nationally too, governing bodies from British Triathlon to Swim England have pressed for cleaner rivers and seas after high-profile pollution incidents disrupted events elsewhere (see The Guardian).

Brighton’s triathlon now sits alongside the city’s other mass-participation fixtures that bookend the year: the Brighton Marathon Weekend each spring, the long-running Brighton Half Marathon, and the British Heart Foundation’s London to Brighton Bike Ride that empties thousands onto Madeira Drive each June. Those events, together with today’s reworked duathlon, underscore Brighton Beach’s role as a year-round arena for large, closed-road endurance sport.

Through Dammo’s eyes

Following on from the Brighton Mod Weekender, two exhibitions are giving Brighton a chance to look at Mod culture in fresh detail. On the beach front, beside the i360 and the Upside Down House, the photographer David Clarke - known to the Mod community as Dammo - is showing Through My Eyes, a free outdoor display of his work. 

The exhibition sits between the shingle and the traffic, where the promenade railings overlook the sea, so that anyone strolling past or pausing for an ice cream finds themselves drawn into the images. Running until the end of August, it charts twenty years of the Brighton Mod Weekender, from scooter ride-outs to sharply dressed gatherings, and captures how a once-fringe revival has matured into a fixture of the city’s summer. Clarke’s images are not posed studio portraits but candid records of Mods in their element, whether standing by the railings in the wind or reflected in the chrome of a Vespa.

Inside Brighton Museum & Art Gallery, a parallel exhibition takes a deeper dive into the roots of the movement. The In Crowd: Mod Fashion & Style 1958-66 brings together garments, photographs, ephemera and music that defined the original scene. From Italian-cut suits to miniskirts, from Motown singles to Lambretta brochures, the show aims to immerse visitors in the years when the Mod aesthetic was first forged. The curators emphasise that Mod was as much about attitude as appearance, with a spirit of youthful confidence shaping fashion choices and nightlife.

Although both exhibitions centre on Mod identity, their approaches differ. Clarke’s photography celebrates the Brighton revival, with an eye on the community that has kept scooters on Madeira Drive most Augusts since 2005. The museum’s survey looks back to an earlier moment, before Quadrophenia and before the myth-making, when Mod was still a modernist youth movement in the making. Together, they offer a conversation across sixty years: how a style born in late-1950s London became heritage on the south coast, and how today’s enthusiasts carry the look forward.

The contrast between the two is deliberate. Clarke’s work meets passers-by in the open air, integrated into the ebb and flow of promenade life, while the museum requires a step indoors into a curated, reflective space. One is part of the spectacle, the other a retrospective. For the Mod faithful, the seafront show is also a chance to find themselves in the pictures: Clarke has been a regular on the front line of ride-outs and has built up an archive unmatched in its scope. Meanwhile, the museum exhibition situates Mod within broader shifts in British design and music, drawing links with jazz clubs, Carnaby Street boutiques and the global rise of youth culture.

The Mod Weekender

Thousands of scooters and sharply dressed Mods descended on Brighton this Bank Holiday weekend, with Madeira Drive once again the focal point of the annual Mod Weekender. Lines of Vespas and Lambrettas, many lavishly customised with chrome, lights and Union Jacks, stretched along the promenade, while the beach and seafront filled with spectators and photographers. For many, the weekend has become a living tribute to the subculture that defined the 1960s and found one of its most enduring homes in Brighton.

The Brighton Mod Weekender was established in 2005 by The New Untouchables, a London-based collective of DJs, promoters and enthusiasts committed to keeping Mod culture alive. The group had long been organising club nights and events centred on Northern Soul, ska, rhythm and blues, and 1960s beat music. Bringing their efforts to Brighton in the mid-2000s was both symbolic and practical: the city was immortalised in the 1979 film Quadrophenia and already had a global reputation as the spiritual home of the Mods. (See also Mods and Rockers clash in the 60s.)

The inaugural event in 2005 drew hundreds of scooters and enthusiasts, with daytime meet-ups on the seafront and late-night parties at venues such as the Komedia. Over the years it has grown into one of the largest gatherings of its kind, attracting visitors from across Britain and Europe. Scooter ride-outs to Beachy Head and beyond became part of the ritual, as did competitions for the best customised bikes, while the weekend marketplace offered records, clothing and memorabilia. The event also helped shift Brighton’s civic stance: once a city that banned Mods from its pier in the 1960s, it has since embraced them as part of its heritage and tourist identity.

The Weekender has not been without its defining moments. In 2014, thousands of Mods marked the 50th anniversary of the infamous 1964 seaside clashes with Rockers, filling Brighton’s streets with scooters in what local media described as the largest gathering since those heady days. In 2019, the seaside saw record crowds again, just before the pandemic forced a pause in 2020. When the event returned, the emphasis on heritage was clearer than ever, with exhibitions, photographic retrospectives and fashion shows anchoring the programme alongside the music and scooters.

This year marks the 20th anniversary of the Brighton Mod Weekender, and the celebrations have been extensive. Yesterday and today Madeira Drive was packed with scooters, while crowds lined the seafront to watch the ride-outs and browse the stalls.

The Bad Guys 2

Brighton’s seafront played host this weekend to an unusual sight: a suave wolf in a white suit prowling near the Palace Pier clocktower. It was all part of a colourful promotional event for DreamWorks’ latest release, The Bad Guys 2, which opened in UK cinemas in late July. A branded tent and giveaways drew the attention of families and passers-by, while costumed characters posed for photos against a backdrop of desert pyramids and cartoon mayhem. The stunt brought Hollywood marketing spectacle to Brighton Beach, tying in with a film that has already been praised as a sharp, energetic sequel.

The appearance of The Bad Guys 2 team in Brighton underscores the film’s broad appeal. The original 2022 animation introduced a band of reformed animal criminals - Wolf, Snake, Shark, Piranha and Tarantula - trying to go straight after years of high-profile heists. The sequel, directed by Pierre Perifel with voices from Sam Rockwell, Awkwafina, Marc Maron, Craig Robinson and Zazie Beetz, expands their story. Having struggled to adapt to respectable life, the crew find themselves forced into a cosmic-scale caper by a trio of new villains known as the Bad Girls, with much of the action shifting to a rocket and a space station. The mix of snappy humour, frenetic action and moral dilemmas has been credited with keeping the franchise fresh - see The Washington Post.

According to Wikipedia, the film has already done well commercially. Produced on an estimated budget of $80 million, The Bad Guys 2 has grossed more than $117 million worldwide to date, with strong opening weekends both in the US and UK. Reviews have echoed the audience enthusiasm, with critics highlighting the film’s blend of kid-friendly slapstick and witty nods for adults. DreamWorks has hinted that a third instalment is already being discussed, following spin-off holiday specials and now a full-scale sequel.

In Brighton, where film promotions often make inventive use of the pier and seafront, the weekend’s activity linked global cinema with local spectacle. Visitors found themselves stepping into the film’s world for a moment, whether collecting branded bags or watching the wolf strut across the promenade. For families, it was an unexpected holiday diversion; for the studio, it was a reminder that in an age of streaming and saturation, taking the characters directly to the public can still turn heads and sell tickets.

The blessing of the sea

Brighton’s seafront witnessed a striking fusion of ritual, performance and protest this afternoon at the annual ‘Blessing of the Sea’. Clergy in white robes stood at the Doughnut Groyne beside the Palace Pier, leading prayers over the waters while a banner proclaimed ‘The sea is rising and so are we’. A few feet away, the Red Rebels of Extinction Rebellion moved in silent procession, their scarlet veils lifted in slow gestures of lament and warning. The scene unfolded beneath a cloudless August sky, the green bronze ‘Afloat’ sculpture framing both the pier and the gathering of worshippers. (See also Hamish Black’s Afloat.)

This year’s service was announced by the Diocese of Chichester on Instagram and widely shared on local forums such as Anthony Murley’s post to the Brighton & Hove Notice Board. Organisers called it both a Christian rite and an act of ecological witness, recognising the sea as a source of sustenance, beauty and peril. The clergy’s words of blessing were joined by calls for responsibility toward the coast at a time of rising tides and intensifying storms.

The ceremony is not without precedent. Brighton’s fishing town ancestors sought blessings over their nets each spring, a custom enshrined in the 1580 Book of all the Auncient Customs and revived in the late twentieth century as the ‘Blessing of the Nets’ on the beach by the Fishing Museum -  for more on this, see the Brighton Seafront Heritage Trust and My Brighton and Hove. Meanwhile, the city’s Greek Orthodox community has long marked Epiphany with the ‘Blessing of the Waters’, casting a cross into the waves from the pier. Today’s event consciously draws on both traditions, updating them with a climate-conscious emphasis suited to Brighton’s identity as a coastal city where faith, protest and performance often overlap.

What emerged on the groyne today was therefore more than symbolic: it was a reminder of the continuing link between the sea and the city, between prayer and protest, and between past traditions and present anxieties.

Praise for Pride

Brighton & Hove Council and the managing director of Brighton & Hove Pride have praised this year’s Pride weekend as a powerful celebration of unity and diversity, despite acknowledging a number of logistical hiccups. The 2025 festivities began with Saturday’s Pride parade setting off from the seafront, then winding through the city towards Preston Park, cheered on by thousands lining the route (see Brighton’s biggest bash).

An estimated 115,000 visitors arrived through Brighton Station that day, with large crowds attending both the Party on the Park - headlined by Mariah Carey - and the expanded Pride Street Party, which continued into Sunday with a closing set from Sugababes. Brighton & Hove City Council described the weekend as ‘the city’s biggest and brashest event’ and said it might well have been the largest Pride in the city’s history.

Paul Kemp, managing director of Brighton & Hove Pride, told BBC Sussex that although some people had faced delays getting into ticketed areas on Saturday, the team had acted quickly. ‘We know some people were frustrated, and we’re sorry about the delays,’ he said. ‘But public safety always comes first, and we adjusted plans quickly to improve the experience on Sunday.’

Brighton & Hove City Council also acknowledged the problems, particularly queues and entrance issues on Saturday afternoon. ‘It’s fair to say not everything went entirely smoothly,’ the council said, adding that changes had been made for Sunday and that lessons would be reviewed with organisers and partners in the months ahead.

Councillor Birgit Miller, Cabinet Member for Culture, Heritage and Tourism, thanked organisers, volunteers, and emergency services, saying: ‘It truly was a celebration of resilience, spirit, passion and unity . . . It is a massive planning operation and the work from Pride and partners across the council, police, fire, health and many more made sure it was a safe and fun event for everyone.’

The city’s clean-up operation began even before the weekend ended. The Environmental Services team collected more than 37 tonnes of rubbish, and 300 Pride Tidy Up Team volunteers joined an early Sunday morning beach clean, filling 280 bags. Most of the city centre was reported tidy by Monday morning.

Brighton’s biggest bash

Today’s Pride parade - the city’s biggest and most colourful annual event - set off at 11 am from Hove Lawns, gathering thousands of float‑decorated participants, drag performers and rainbow‑clad marchers who made their way east along the iconic seafront promenade. They proceeded along Kingsway to turn into West Street and North Street before winding past Old Steine and heading up toward London Road and Preston Road on its way to Preston Park, where the music festival begins.

This procession continues a legacy stretching back to the Sussex Gay Liberation Front’s first demonstration in October 1972, followed by Brighton’s inaugural Pride Week in July 1973 - a protest‑cum‑carnival walk along the waterfront ending with a beach gathering. After a hiatus, modern Pride returned in 1991, growing rapidly through the 1990s, and by 1996 the parade consistently began on the seafront with a major festival in Preston Park.

A watershed moment came in 2011 when financial collapse forced the new Brighton Pride CIC to introduce fencing and ticketing for the Preston Park event, while preserving the seafront parade as free. That move stabilised the event and enabled the creation of a Social Impact Fund which now supports local LGBTQ+ groups.

The COVID‑19 pandemic marked another turning point: both 2020 and 2021 festivals were cancelled (the 2020 edition was replaced by streamed content), breaking the Pride tradition for the first time. In 2022 Pride returned in full force - with headliners Christina Aguilera and Paloma Faith - and a revived focus on activism as well as entertainment. 2023 emphasised trans rights and global solidarity; 2024 featured themes of environmental activism and celebration, headlined by Girls Aloud and Mika.

Economically, Brighton Pride is one of the city’s most vital events. It draws up to 500,000 people over the weekend, accounting for an estimated two per cent of the city’s annual tourism in a single day and generating approximately £30 million in visitor spending. Since 2018 the event has delivered consistent economic benefits and raised more than £1 million annually for community grants.

This year 2025 brings further evolution. The theme - ‘Ravishing Rage’ - signals both celebration and resilience, and the event introduces major improvements following widespread community consultation. Notably, the Pride Village Party stage in Kemptown has moved from St James’s Street to Marine Parade, which will remain open for pedestrian and vehicle traffic, while Marine Parade will host a new Street Party featuring outside stages and entertainment.

On the festival front, 2025’s Pride on the Park takes place in Preston Park on 2-3 August, headlined by Mariah Carey in a UK festival exclusive - her long‑awaited performance originally planned for 2020 - and supported by acts including Sugababes, Fatboy Slim, Confidence Man, Loreen, Will Young, Natalie Imbruglia, Ashnikko, Slayyyter and Sister Sledge. Hayu, the NBCUniversal reality streaming service, is this year’s headline sponsor, enabling over 150 LGBTQ+ performers across multiple immersive stages.

In sum, today’s procession along Brighton’s seafront is not simply a visual feast - it’s also part of a five‑decade arc of protest turning into celebration, of financial crisis becoming a sustainable model, of pandemic pause and triumphant resurrection, and of ever‑greater economic and cultural significance to both city and community. For further information see Time Out, Brighton and Hove Council, and Wikipedia.

On the Beach hit by weather

Thousands of music-lovers were evacuated from Brighton seafront yesterday evening after a Met Office yellow warning for thunderstorms prompted a swift and precautionary response from organisers of Brighton’s On The Beach festival. The warning, which forecast heavy rain and potential flooding, led to what some described as a ‘Code Red’-style evacuation. Crowds were seen leaving the site in orderly fashion just after 6pm as thunderclouds gathered and conditions deteriorated.

Drone footage - from Sussex Express - captured the mass movement away from the beach, with stewards guiding people safely from the festival grounds. The yellow warning had been issued earlier in the day, but organisers initially proceeded with caution. At 5.30pm, a statement on the festival’s Instagram page confirmed that the show would go on - ‘The weather forecast from the Met Office is now clear skies for the rest of the evening, but prepare for change.’

However, the skies did not stay clear. As heavy rain swept in and lightning was reported nearby, the decision was made to evacuate the site. Aerial photographs published by the Sussex Express showed thousands leaving the seafront just as the storm arrived. Emergency services assisted the evacuation, with no reported injuries or arrests.

By around 7.30pm, conditions improved and the yellow warning was lifted. Festival organisers reopened the site and revised the schedule, allowing the evening’s acts to proceed under clearer skies. The Argus reported that fans praised the organisers for ‘putting safety first without cancelling the whole evening’.

While no official ‘Code Red’ declaration was made, the phrase circulated widely among attendees as a way to describe the highest level of threat response used in emergency planning. The sudden storm interrupted the rhythm of the evening, but the quick return of music and clear skies by nightfall brought the crowd back together.

London to Brighton for £2!

The fifth annual London to Brighton Electric Vehicle Rally rolled out from Westminster this morning, as more than sixty quiet yet determined electric vehicles - ranging from sleek city cars to robust SUVs - set off on the scenic 60-mile journey to Brighton Beach. Two Teslas pulled in first.

Launched in 2021 as a grassroots initiative to inspire confidence in EVs, the rally has grown exponentially - beginning with just 23 participants at its inception, climbing to over 120 competitors and drawing an estimated 35,000 spectators this year. Today, the first to arrive was a grey Tesla, closely followed by a father and son in a second grey Tesla - competition number 37. The driver of the second Tesla told the MC that the trip had only cost him £2 on ‘fuel’.

According to the promoters: ‘Whether you’re a participant or a visitor, Madeira Drive in Brighton is the place to be on rally day. With over 35,000 expected visitors, it transforms into a hub of electric vehicle innovation and entertainment. At the centre of it all is our EVillage, featuring partners like BYD and Hankook Tyres. Here, attendees can test drive a wide variety of electric vehicles with zero obligation, engage with manufacturers, and learn about the latest advancements in electric mobility.’ Tonight, an award ceremony is due to take place at the Brighton i360 - a celebration of the year’s most efficient vehicles.

The organisers are keen to demonstrate the advance of EVs. In 2021, they made up only 11.6% of new car registrations. In 2025, that figure has passed 27%, and the government predicts it could hit 50% by 2028. Charging infrastructure has improved too, with over 60,000 public charge points available across the UK - up from just 9,000 in 2018. Ultra-rapid chargers are appearing on motorways, in supermarkets, and even in remote villages - see more at Fully Charged Show.