Why “We’ve Always Done It This Way” Is Holding Museum Events Back
Someone once said to me, “If it ain’t broke, don’t fix it.” She was referring to an event I had overhauled because it was tired and in need of some serious TLC.
I remember exactly how those words made me feel. It was as if someone had held a stop sign up in front of me - halting me in my tracks just as I was trying to do something innovative and, god forbid… exciting.
When I was running events in museums, if I had an idea, I saw it through. And I’m pleased to say that I did go ahead with that event. I made significant changes -and it paid off in press coverage, visitor numbers, and the bottom line.
Why museums are naturally risk averse
Museums and galleries are, by nature, risk-averse - and I do understand why. They care for collections that are often irreplaceable and enormously valuable. Many objects are on loan, tied up in complex financial and legal agreements. Public institutions also rely heavily on visitor income, grants, government funding, and sponsorship.
The risk of a bad review or poor public perception can feel enormous. So avoiding risk can feel like the safest option.
The problem is that to stay fresh, relevant, and attractive - particularly to new audiences - the cultural sector has to accept some level of risk. If it doesn’t, it risks becoming stale.
Events are one of the most powerful tools museums have to stay connected to their communities. They boost visibility, enhance reputation, and generate income. But the truth is this: all events carry risk, no matter how big or small.
Why innovation matters for museum engagement
Audiences expect a degree of innovation. They want to be surprised and delighted. They can sense when an organisation is being overly cautious - and that feeling is off-putting.
Of course, visitors must be kept safe. But what I’m talking about here is the vibe. If your team isn’t excited, your audience will feel it. Being overly risk-averse drains energy from an event and can quickly turn it into a damp squib.
The phrase “we’ve always done it this way” is a real show-stopper. What it often really means is: “I don’t want to do this, and I’m going to block it.”
Working in events requires agility and a willingness to evolve. Audiences, expectations, and cultural habits change - and museum events must change with them.
So which museum events are doing this well?
There are museums and cultural organisations that are moving with the times - taking considered risks, testing new ideas, and responding to audience behaviour rather than hiding behind precedent.
New Year’s Eve at the Natural History Museum is a great example. It’s bold, unapologetically commercial, and clearly designed with a specific audience in mind. It transforms the building into a social space without undermining the integrity of the collections. Yes, it carries risk - but it’s a calculated one, supported by strong planning, experienced teams, and a clear understanding of who the event is for. The result is an event that sells out, generates income, and significantly raises the museum’s profile.
Late-night programmes across museums and galleries also show what’s possible when institutions allow themselves to evolve. The most successful Lates are not static formats; they are constantly reinvented. They respond to changing audiences, cultural trends, and social behaviours. They experiment with programming, music, partnerships, and atmosphere. Crucially, they accept that not every iteration will be perfect - but each one provides learning that informs the next.
Hidden London is another strong example. Known for its behind-the-scenes and underground tours, London Transport Museum has recognised the opportunity to expand its audience by developing experiences specifically for families. This requires a shift in thinking, a willingness to test assumptions, and careful risk management - but it opens the door to long-term audience growth and deeper engagement.
Then there are events and programmes that blend learning, entertainment, and social experience. Tate’s partnership with Uniqlo is a good example. By aligning with a commercial brand in a thoughtful, values-led way, Tate has been able to support creative learning initiatives and expand its reach. Partnerships like this can feel risky in the cultural sector, but when done well, they bring fresh energy, resources, and relevance.
What these examples have in common is an understanding that risk can be managed, mitigated, and balanced against opportunity. They show that innovation doesn’t mean abandoning standards; it means being open to change and recognising that audiences - and their expectations - do not stand still.
Playing it safe might feel comfortable, but in today’s landscape, it may be the biggest risk of all.
Work with me
If you would like to continue innovating and growing then do book a discovery call to explore how we could work together to make amazing events happen!