Supercross Denver 2025 – Media Day Gallery

By Kenedy Rae | KRX Media | May 2025

Denver, Colorado: Before the gates drop and the stadium roars to life, there’s an entire world of preparation that most fans never get to see. On Friday before the big Saturday race, I had the chance to attend Media Day at Supercross Denver 2025 as a credentialed photographer for KRX Media, and it gave me a closer look at how the riders, teams, and track crew gear up for race day. Not quite the calm before the storm, but definitely a moment to breathe before the final push. Riders rolled out not just to loosen up on the track, but to show a bit of style, test lines, and soak in the atmosphere of one of the most scenic stops on the tour.

Denver’s elevation and perfectly sculpted layout made for a fun, flowy afternoon of laps and visuals. There were no time sheets, no pressure—but still, plenty of moments worth watching. From Haiden Deegan throwing whips with steeze, to Malcolm Stewart adding flair over jumps, to privateers chasing one final shot at glory, Media Day in Denver gave us a preview of the intensity, style, and grit that’s been building all season long.

Media Day is part track preview, part warm-up, and part low-key PR run—but for a photographer, it’s a goldmine. It’s the calm before the storm, with access and angles you won’t get once the gates drop. Here’s a visual look at what went down before the racing officially began.

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The Calm Before the Chaos

When I first arrived at Empower Field, the stadium was nearly empty. No fans, no music—just the soft hum of machinery, the buzz of prep work, and testing of the audio system. Track crews were still fine-tuning sections of the rhythm lane while riders walked the course with their teams, mentally visualizing lines.

I watched as mechanics made last-minute adjustments and riders posed for interviews with Monster Energy, Feld, and independent reps. There’s a quiet intensity to media day—everyone’s relaxed but locked in, and flashing a cute smile for pictures.

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Walking the Track

One of the coolest parts of Media Day was getting to walk the actual track before it was torn up by the bikes.

I walked through the whoops and stood at the base of the finish line jump, looking up at how massive it really is. You don’t realize how deep the ruts are, how steep the lips feel, or how sharp those 180 berms are until you’re standing in them.

As I wandered, I started mentally bookmarking photo spots:

• The backside of the rhythm section had amazing lighting during the day, so I could imagine the opposite corner would be the best lighting for the night race.
• One of the jump faces had a perfect angle if I crouched low and shot wide.
• The whoops section from the side view could get the crowd in the background with the illusion of the rider jumping over them.

It was a strange mix of peace and intensity—focused, a little chaotic, kinda silly, but oddly peaceful. And I probably shot hundreds of photos just walking with my camera at my side, capturing nothing and everything all at once.

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Track Prep and Conditions

Denver’s track came together beautifully for media day—loamy, forgiving, and fun to watch. Though, there were spots that were very muddy and slippery. The design had a natural flow that let riders stay in rhythm, with smooth transitions between jumps and corners that worked in their favor. Some tracks on the circuit have tight, awkward turns or rhythm sections that just don’t link up cleanly, but Denver felt like the opposite—technical yet intuitive. It was the kind of layout that made even media day laps enjoyable to watch, and thankfully, there were no major crashes or red flags throughout the session.

Of course, elevation plays a massive role in Denver, sitting over 5,000 feet above sea level. The thin air means less oxygen for both riders and machines. You could see some riders breathing a little heavier than usual, and the mile-high altitude puts everyone’s heart rate under extra strain. The teams were already making gearing adjustments—some going up a few teeth in the rear sprocket—to compensate for reduced low-end torque.

That said, it’s an even playing field. Every rider deals with the same environmental challenge, and most were making quick work of the track. The whoops looked relatively tame during media laps, but a few cautious roll-throughs hinted they might get gnarlier once lines develop and riders push harder on race day. All in all, Denver delivered a layout that looked as good as it felt—and that’s not something you can say about every round.

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Riders Hitting the Track

Later in the day, a small group of selected riders took to the track for Media Day hot laps and the PulpMX Privateer Championship. The track wasn’t being fully utilized and not every obstacle was being hit, but it gave me the first real shots of action on dirt in Denver—with clear stadium backgrounds and no crowd distractions. It felt empty without the roar of the crowd at every turn, and so personal—Just you, the rider, and flying dirt.

The 250 crew brought a mix of energy and style to the Denver Media Day track, with Haiden Deegan, running the red number 38 plate, grabbing most of the attention—not just for his growing fanbase, but for the effortless style he displayed while throwing massive whips over the finish line jump. Deegan rode with a relaxed confidence, clearly enjoying the open track and elevation. Alongside him, Jo Shimoda looked smooth and calculated, piecing together precise laps without breaking a sweat. Factory rookies Cole Davies and Drew Adams also turned heads, taking full advantage of the opportunity to showcase their form in front of the media and industry eyes. It was a strong mix of raw talent and technical finesse, and it set the tone for a competitive weekend in the 250 West class.

450 Media Day

Though none of the top-three title contenders were in attendance, the vibe was far from low-energy. Malcolm Stewart, running number 27, in particular had fans and photographers tracking his every move, proving once again that style and personality still matter in the premier class.

PulpMX Privateer Challenge Championship

The PulpMX Yamaha Privateer LCQ Challenge Championship has quickly become one of the most anticipated moments of Supercross Media Day—and Denver delivered. Designed as a two-moto format for the underdogs of the sport, the challenge gives privateers a rare shot at center-stage. In this unique format, the rider who finishes last in the first race gets the first gate pick in the second, flipping the pressure and keeping the drama high.

Kevin Moranz, number 146, was the most consistent rider on the day, finishing second in both races, which earned him the overall win and the $30,000 prize. Marshal Weltin rebounded from a 7th-place finish in Race One to take the win in Race Two, securing second overall. Hardy Munoz posted identical fifth-place finishes in both motos for a strong third place. Hunter Schlosser rode to a 3rd and 10th, which landed him fourth overall, while Grant Harlan, who struggled in the opening moto with 11th, rallied for 6th in Race Two to round out the top five.

A notable moment from the day was Kyle Chisholm lining up wearing Jerry Robin’s number, 77, as Robin was permanently sidelined due to an injury suffered a few weeks back. It was a subtle but powerful nod to the privateer brotherhood that makes this event special. While the spotlight often favors factory rigs, the LCQ Challenge reminded everyone why these racers continue to show up, dig deep, and earn respect the hard way.

The PulpMX Yamaha Privateer Race was gritty, unpredictable, and emotional—the kind of racing that reminds you why you fell in love with the sport in the first place.

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Final Thoughts

Media day may not have the roar of a full stadium, but it’s a critical part of the Supercross experience—and a perfect opportunity to tell stories that the average fan doesn’t get to see. It’s also a great reminder that these athletes don’t just show up and ride; there’s a whole day of prep, strategy, and mental focus behind every gate drop. And for the crews, they often are in the new city each week as early as Wednesday before the race.

Whether you’re a rider, fan, or fellow creative, I hope this behind-the-scenes look gives you a new appreciation for everything that happens before the gate drops. Because when race day comes, the work’s already been done—the stories are already unfolding. It’s just time to capture them.

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By Kenedy Rae
Founder & Photographer, KRX Media

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Check out my other motorsports work here — featuring my portfolio, recent event coverage, and more behind-the-scenes action.

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Related Moto Reads:

• Dirt, Drama, and Dead Batteries: The Ultimate Supercross Photography Checklist
• Best Camera Settings for Dirt Bike Photography: Capture Fast Action Like a Pro

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Anyways, thanks for reading, more coming soon :)