Fitzrovia is adland's home address — the agency village along Charlotte Street and its grid, where the daily transport rhythm is pitches out and clients in: creative teams hauling boards and prototypes to a procurement floor in Canary Wharf, brand clients collected for the tissue meeting, shoots dispatched and rushes returned. RushXO works the village on per-client billing — pitch-day cars that carry the work as carefully as the people, client runs with agency polish, and awards-season nights that end with everyone home and nothing on an expense claim.
Pitch days
A pitch moves more than people: foam boards that mustn't bend, prototypes that mustn't rattle, the leave-behind boxes, and a creative director rehearsing the open in the back seat. Pitch cars load at the agency door with the boot planned around the work, run to the client's building with buffer for security sign-in, and hold outside for the debrief ride home — where accounts are won and lost a second time.
V-Class for the pitch team travelling together, boards flat and prototypes boxed — one vehicle, one conversation, arriving as a unit rather than in four staggered app cars.
Brand clients collected from offices and stations for chemistry meetings, tissue sessions and edits — Executive cars on the agency's account, the client-service touch starting at the kerb. The full method is our guest collection playbook.
Shoot-day crew and kit runs, agency producers to the grade, and the constant shuttle across Oxford Street to the Soho post village — five minutes door to door, billed to the job number.
The agency calendar
Pitch-week late nights run cars home at fixed fares on the new-business code — the same duty-of-care logging every industry account carries, applied to a creative department at 1am.
Long lunches and gallery evenings with clients end with pre-positioned cars — guests home smoothly, the account handler's relationship a little stronger, the fare on the client code.
Industry awards nights are batch operations: tables of ten to the venue, a marshalled operation home after the last category, and the winners' cars finding them however long the celebration runs.
Every fare carries a client or job code from booking; month-end gives finance one invoice sorted by client and account directors a transport line per relationship — the standard account, tuned to agency billing.
FAQ
Yes — pitch cars are loaded around the work: boards flat, prototypes boxed, leave-behinds counted, with V-Class vehicles keeping the whole team and the materials in one vehicle, and the car holding at the client's building for the ride home.
Yes — brand clients are collected from offices and stations in Executive cars with no payment moment, billed to the client code, with the booker receiving driver details and tracking throughout.
Yes — crew and kit runs on shoot days, producer shuttles to Soho grades and mixes, and rushes moved by accountable named drivers, each journey billed to the job number.
Client and job codes attach at booking; the monthly invoice sorts by them with CSV export, giving finance one document and each account director a clean transport line per relationship.
Yes — tables travel out together and a marshalled operation brings everyone home after the last award, at fixed fares regardless of the hour, batch-billed to the event code.
Typically five minutes — cars stage around the Charlotte Street grid's workable kerbs and message on arrival, with each agency's preferred pickup point saved to the account.
Pitch cars · client collections · shoot runs · awards nights · per-client billing · fixed fares
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The post village across Oxford Street, five minutes south.
The sibling account for the comms side of the business.
The full production framework behind shoot days.
The machinery behind awards-night operations.
International clients met at Heathrow for the pitch.
Per-client coding on one monthly invoice.