Music PR
you can check
Fixed-price press campaigns for independent artists. You approve the media list before we pitch anyone, you watch every reply arrive in real time, and the price is on the website.
No retainers. No minimum term. No promises of coverage that nobody can keep.
The problem isn't that music PR is expensive. It's that you can't tell what you bought.
Artists pay a thousand pounds and upwards for a campaign, receive a vague promise of pitching, and finish three months later with no way of knowing whether anyone was ever actually contacted. The industry has trained musicians to expect that, and it is the most common complaint about the entire category.
Jericho is built to make that complaint structurally impossible.
Fixed price per single. Published, not quoted.
What the deliverables cost bought separately.
Of pitches logged and visible to you.
Guarantees of coverage. From us or from anyone honest.
Every outlet on your list is chosen by a person, checked by a person, and shown to you before anything is sent.
The approved list
We sell the assets. The outreach is included.
Every other agency does this the other way round. They sell you the pitching and charge extra for the press release, the artwork, the video, the landing page.
We inverted it deliberately, because it fixes the trust problem mechanically rather than rhetorically. An EPK either exists or it does not. A landing page is either live or it is not. Three video edits are either in your folder or they are not. All of that lands in week one.
Coverage, by contrast, can never be promised by anybody. So we front-load everything that can be verified, and treat the press results as the upside they honestly are.
What £695 actually buys
Itemised at what each piece would cost you to buy on its own. We have kept the arithmetic honest, because an inflated value stack is a scam signal, and this audience has seen plenty of them.
Figures reflect typical UK market rates for each component bought individually. Advertising spend is paid by you directly to the platform.
Three ways in
No retainers, no minimum term, no automatic renewal. You buy a campaign for a release, and then you decide whether to buy another one.
Assets only
Release Kit
Everything you need to look like a professional release. No outreach.
£295 per release
- Press release and artist biography
- Digital press kit (EPK)
- Release landing page with pre-save
- Social asset pack
- One short-form video edit
- Yours to keep and reuse
Most artists start here
Single Campaign
A full press campaign for one single, with the whole asset package included.
£695 per release
- Everything in Release Kit
- Media list built for your genre, approved by you before we send
- Four to six weeks of pitching and two follow-up waves
- Three short-form video edits
- Spotify and Meta ad campaigns built and handed to you
- Live reporting dashboard
- Email list and retargeting audience you keep
EP and album cycles
Release Campaign+
For an EP, a multi-single rollout or a release with touring behind it.
£1,450 per release
- Everything in Single Campaign
- Eight to ten week campaign window
- Extended, tiered media list
- Radio plugging outreach
- Playlist and curator pitching
- Six short-form video edits
- Ad campaigns built for up to three platforms
- Follow-up release strategy session
How a campaign runs
Seven weeks, in the open, in this order.
Intake
A half-hour call and a short brief. Your release date, your genre, the scene you sit in, what you already have and what is missing. We tell you at this point whether the timeline works, and if it does not we say so before you pay.
Your assets arrive
Press release, biography in three lengths, digital press kit, release landing page, social asset pack and video edits. All of it lands before any outreach begins, so you are holding something real before we take any risk on your behalf.
You approve the media list
We send you the name of every outlet, blog, playlist, radio show and podcast we intend to pitch, with the reason each one is on the list. Nothing goes out until you have signed it off.
The campaign runs
Personalised pitching across the approved list, and two structured follow-up waves. Your Spotify and Meta campaigns are built, tested and handed over to you with the targeting documented.
You watch it happen
A dashboard you can open at any time: every outlet pitched, when it was sent, whether it opened, replied or declined, and every placement with a link. Updated as it happens, not summarised at the end.
Wrap and hand-over
Final report, coverage archive, and the assets you keep. Your email list, your pixel data, your retargeting audience. The next release starts from a warmer position than this one did.
Six things we do that the rest of the industry doesn't
You see the list first
We send you every outlet we intend to pitch, before we pitch it. You approve it. If a name on there makes you uncomfortable, it comes off.
The price is on the website
Ours is published on the pricing page. We could not find a single significant UK music PR agency that publishes theirs.
Assets before outreach
Your press kit, landing page and video edits arrive in week one. You are holding something real before we start the part nobody can guarantee.
Every pitch is logged
Sent, opened, replied, declined, placed. It is all in a dashboard you can open whenever you want, updated as it happens.
No guaranteed coverage
Anyone promising you placements is describing something outside their control. What we promise is effort you can verify.
You keep the audience
The email list, the pixel and the retargeting audience are yours. Most PR ends and leaves you with links. This ends and leaves you with an audience.
What this reaches, and what it does not
A campaign at this price works hard at one level of the media and does not pretend to work at another. We would rather set that out here than have you find it out in week five.
Where these campaigns land. Specialist and independent digital outlets. Genre blogs and zines with real readerships. Regional and community radio. BBC Introducing. Scene-specific podcasts and playlists. City press in the places that still have it. This is the layer where an independent artist's audience is actually built, and it is a layer most agencies treat as filler on the way to somewhere else.
Where they do not. The national monthlies, the front of the big consumer titles, daytime national radio. Those are won over multiple campaigns, with a track record behind you, usually with a longer lead time and a bigger budget than this. We name those outlets on our genre pages so you know what the ladder looks like, not to imply that one campaign puts you on it.
If your release is genuinely in range of the tier above, we will tell you, and we will tell you what it would take. If it is not yet, you will hear that too.
Pick the genre. The campaign changes completely.
A folk campaign and a drill campaign share almost nothing: not the outlets, not the timeline, not the assets, not the definition of a good result. Agencies that run one process across every genre are running the wrong process for most of their clients.
These pages set out what we actually target in each, what sits above that level, and what we will tell you before you spend anything.
Local media, local venues and local promoters are where most independent artists get their first real coverage.
Where campaigns start
And the city matters more than you'd think
Not because we need to be near you. Every campaign we run is remote. Because local media, local venues and local promoters are frequently where an independent artist's first real coverage comes from, and because a national writer takes you more seriously when you already have a story in your own city.
Each of these pages sets out the outlets, stations and rooms that actually matter in that city.
Questions we get asked first
If yours is not here, ask it on the contact form. We would rather answer it before you buy.
Tell us about your release
Send us the track, the date and where you are. You will get an honest read on what a campaign can achieve for it, including the cases where our answer is that you should wait.