Most musicians who have released music on a national or international level will be well aware of the potential value of press coverage. Securing a review or full-on profile in a newsstand or online publication is a vital element in the promotion of new music.
But over the last 15 years, there have been fewer opportunities for artists due to a dramatic decline in the number of print magazines. According to a feature in The Guardian in 2023, the total number of purchased titles across all subject areas declined by 70% between 2010 and 2022, and this decline continues.
In the music sector, casualties have included Q magazine (printed its final issue in July 2020), Mixmag (went exclusively online in 2020) The Word (closed in August 2012), NME (shifted online in 2018), The Fly (closed in March 2014) and Spin (ceased publication in October 2012).
By contrast, there is a marked increase in the popularity of digital magazines and blogs for music. This has prompted some older MU members to ask how they should approach their press campaigns these days: how they can find such outlets, who they should pitch to, what sort of press kit they should be creating and how they should submit it.
Securing press coverage for new music has never been easy, even for seasoned music industry PRs. But by following a number of key steps, musicians can significantly optimise their chances in this shifting media landscape.
Getting started
The most common reason for musicians seeking press coverage is to try and secure a review of a new release, and this is generally where the press journey begins for up-and-coming artists.
It’s worth noting that most print and online music publications review albums, but far fewer will take EPs or singles, so you stand a much better chance of getting an album reviewed.
That said, some online publications in particular will preview single tracks ahead of an album release. For example, online publications such as Americana UK and The Wire will often review single tracks.
If you decide to do your own PR, you should accept from the start that it requires a significant commitment and that your approach must be methodical and consistent.
“It's definitely possible to do your own press,” says Isobel Williams of Laydown PR, an experienced publicist whose clients have included Lewis Capaldi, Jack Garratt and Alice Phoebe Lou. “It can however be hugely time-consuming as it's something that has no 'finish'. You can always do more. I would be mindful to develop a strategic plan to ensure some self-preservation.”
Finding the right media for your music
One of the first tasks is to identify which online and print publications would be most suitable for your music. This will be partially determined by what genre you fall into.
“Many publications support a wide range of genres but the more niche areas you can tap into, the better,” says Isobel Williams. “I'd also suggest approaching regional press and any other media that is relevant to the various aspects of your identity.”
Research artists who are similar to you, both in sound and in terms of size and stage of career. Seeing the sorts of titles that have supported them is a useful way to start building a list of realistic targets - Isobel Williams, PR
Finding print publications that would cater for your music can be as simple as walking into any decent newsstand retailer and rifling through the music magazines on the shelves. But sourcing more niche print and online publications will need research.
Isobel Williams advises artists to look at what their contemporaries are doing. “A good starting point is to research artists who are similar to you, both in sound and in terms of size and stage of career. Seeing the sorts of titles that have supported them is a useful way to start building a list of realistic targets. I'd also suggest building relationships and loyalty amongst music blogs and smaller curators. Once you start securing coverage and building some buzz, the bigger more well known targets will be much easier to secure. Be optimistic but realistic.”
Williams also suggests platforms such as Submit Hub - which hold a database of publications that you can submit your music directly to, sometimes for a small fee. “I don't use these sites as a publicist,” she says. “However, I think they can be a really useful tool and a starting point for artists doing their own PR.”
Honing in on your audience for clues of what publications to approach is also worth doing says Sacha Taylor-Cox, a PR whose clients have included heritage artists such as Kim Wilde, Glen Matlock and Colin Blunstone.
“Mostly, a band’s audience will be the same demographics as the band,” says Taylor-Cox, “so target the publications you know, as your fans will be the readers. There are so many blogs and online mags that come and go. Try a search of an artist who is similar to you and click the news box. Google should bring up all the articles on that artist in publications that have covered them, so that’s a good starting point.”
Who to contact
The next step is to find an actual contact at each publication to send your pitch to. This would usually be the reviews editor. Searching under the ‘Contact’ tab of a publication’s website will often yield the relevant person to submit your pitch to for a review. Alternatively, typing ‘editorial team at [such and such publication]’ into Google should yield results.
“Many blogs and publications have contact pages or submission guidelines on their sites where you can find email addresses / contact forms etc,” says Isobel Williams. “If you identify a publication who you think will like your music but you can't find a contact, I think reaching out via direct messaging (DM) to the blog/magazine's social media account is acceptable and worth a shot. I would advise against sending journalists DM's to their personal social media accounts though, unless you already have a good relationship with them.”
Creating your assets – what to send
In the not too distant past, bulging Jiffy Bags rammed with CDs and A4 press releases would regularly thump onto the desks and doormats of reviews editors and freelance writers respectively. Not any more.
While there are still one or two niche publications such as R&R magazine that request CDs for review, press kits are now almost exclusively digital. And all press ‘assets’ are expected to be accessible via one single URL link to your electronic press kit (EPK), which is stored on the Cloud. For more details on Cloud storage options please see below.
Upload and cloud storage options
There are a number of options for uploading and storing your electronic press kit (EPK) for editors and writers to download in one click from a single, simple link.
“I tend to upload all assets to Google Drive and then I can just embed links to view or download,” says Isobel Williams. “I share press releases as a Google Doc and embed the various links into it. I find it looks tidier and people can choose which elements they want or need to download.”
Disco and Dropbox are other common options for cloud-based storage of press kits. But be careful not to use any link that will expire within a few weeks. “It needs to work and continue working,” says Williams.
Sacha Taylor-Cox highlights the importance of keeping the process as easy as possible for the editor or writers receiving your submission. “Send one link for editors to access easily,” she says – Dropbox, Google Doc etc – but set it for public access so no one has to sign in or ask for permission. We Transfer is very user friendly but only if it’s something that’s been requested – otherwise no one will open and download.”
What you should send
Stipulations vary with each publication but in general, your EPK should include:
- The music: Some publications may prefer to download tracks to listen to, so include wav and mp3 files of your album in your EPK. You can upload these to Dropbox, Google Drive or whatever your choice of Cloud-based storage option is.
- Streaming link: It is also essential to include a streaming link for your album in your accompanying email so that writers and editors can quickly listen to your music. “I still like Soundcloud,” says Sacha Taylor-Cox. “It’s easy to use and self-contained so it doesn’t corrupt my streaming algorithm. But most people send out a streaming Linktree which seems to be the most popular.
- Press shots: Two or three strong high resolution (minimum 300 dpi) full colour jpegs of the artist or the band are essential. Always include a credit of whoever took the shot.
- Cover art photo: A high resolution (minimum 300 dpi) jpeg of the cover art of the album.
- Press release: Similar to a biography, except it is focused on a forthcoming album, EP or single. But keep it short and snappy. Press releases should be sent as a PDF as they are less prone to formatting issues. For advice on writing a press release, please see the box out below.
- Lyrics: Any writer drawn to your music may want to highlight a few lines of your lyrics, so include a PDF of the full lyric sheet. It also avoids the embarrassment of them completely misquoting your lyrics.
How to write a press release
Keep your press release short, punchy and brimming with information that a writer will need. It should be no longer than one side. At the top of the page list the name of the artist or band, the name of the album, the release date, your contact details and the URL link/s to your website and/or main social media platform.
You should also include the track listing; the songwriter or songwriters’ name/s and the band members’ names. List any previous releases and upcoming tours but keep it brief. Explain early on what genre the music falls under and one or two artists you may have been compared to.
A strong backstory about the album will help enormously and this should be the heart of the press release. So think about: Why did you write and record this album? What were you hoping to achieve? What inspired you to create it? Anyone drawn to your music and lyrics will want to know more about the emotions and experiences that inspired the songs so tell them.
One useful tip is to include one or two quotes from yourself about the album and the inspiration behind it. Write the press release in the third-person and then include reported quotes from yourself. If it’s heartfelt, emotive and enhances the understanding of the album or specific song it will resonate with the writer and the readership. It will also make the writer’s job much easier.
Timing is key
Once your music is mastered, the press release is written, the cover art work and press shots are ready and your music is ready to upload to your digital distributor, then it’s time to schedule your release date. It pays to schedule the release date at least six months in advance to give yourself time to get everything ready to send.
Fridays tend to be the best days to release an album. Monthly print music magazines work to ‘lead times’ of three to four months ahead, so if your release date is in June, send your submission in February at the latest.
Digital publications will require less time but it makes sense to send your submission to them at least four to six weeks ahead of the release date. The lead time for newspapers is around six weeks.
Sending your submission
Your submission or pitch will need an opening email and it pays to personalise this.
“Personalise your emails,” says Isobel Williams. “It's better to send 20 considered, personalised emails than 100 rushed copy and paste emails or a huge bcc.”
Keep your email to the point, says Williams, and focus on your first goal; getting them to listen to your music. “Nothing else will happen without that key first step. Make sure all your links work and polish up your socials and any links they might click. Also be mindful when you email people, so avoid weekends for example.”
Following up your emails
Zip yourself into a thick skin and don't take it personally if all you get back is tumbleweed - Isobel Williams, PR
It pays to send a follow-up email to the editor or reviews editor one or two weeks later to check they have received your submission. It’s a fine line between being proactive and pushy, but if you still hear nothing it may be worth sending a second follow-up email one week later.
“Music journalists are receiving hundreds of emails everyday,” says Isobel Williams, “and even with the greatest of intentions they cannot reply to every pitch, so zip yourself into a thick skin and don't take it personally if all you get back is tumbleweed.”
The DIY relationship
Twenty years ago the idea of an artist or band submitting their own music for review would have been deemed unprofessional.This perception has shifted, says Sacha Taylor-Cox. “I think in today’s market there’s actually a preference from the media for it, as they like to feel they can reach out directly to the acts and not have to go via third parties.”
In the past, glowing reviews and at least one prominent feature in a high-profile print publication could be the breakthrough moment for an emerging act. That is no longer the case. Press now sits alongside elements such as strong social media engagement, branding, networking, collaboration and live visibility.
“Building a reputation takes time,” says Sacha Taylor-Cox, “and whilst press used to lead the charge, now they are simply a cog in a wheel. You will need all the elements firing at the same time to build your profile and get any kind of recognition.”
Making progress
Doing your own PR is certainly possible and with hard work and commitment it can pay off and even be a rewarding process. It’s unlikely that any musician will have time to provide the same level of campaign as a full-time PR, but no one will be more passionate about the music than the artist themselves.
So draw up a workable schedule and endeavour to meet the deadlines that you set for yourself.
“I think you can make some meaningful progress tackling PR yourself but it does depend on your expectation and how far you want to take things,” says Isobel Williams. “It would be challenging to sustain an in-depth PR campaign independently without signing your life away to sending emails. But I also don't think it needs to be 'all or nothing'. You could just have a dabble and see how you go.”