What we do
Fixed-price press campaigns for independent artists, with the whole digital asset package included and every pitch logged where you can see it.
One campaign, built for your genre
We do not run a single process across every artist. A country campaign is built around specialist radio and a song's story. A drill campaign is built around visuals and platforms. A classical campaign is built around repertoire and lead times measured in months.
These pages set out exactly what we target in each genre, what sits on the tier above, and what we will tell you honestly about your ceiling before you spend anything.
Where you are
Every campaign runs remotely, so we do not need to be near you. But local media and local venues are where most independent artists get their first real coverage, and a national writer takes you more seriously when you already have a story at home.
Where you are in your career
The honest answer to whether PR is worth it depends almost entirely on this.
Unsigned artists
No label, no manager, funding it yourself. The tier the industry structurally refuses, and the reason this agency exists.
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02Independent artists
Self-released, possibly with a distributor and some traction. Deciding where a limited budget does the most work.
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03Emerging artists
Real momentum, early industry interest, and the point at which a campaign has the most to work with.
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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.
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.
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.