Electronic music PR in Glasgow
Two lists, run as one campaign. The specialist electronic press, and the Glasgow media and venue network that gives a writer a reason to take you seriously.
Electronic music is the genre where press coverage correlates least with actual traction. A record breaks because DJs play it, because a label with standing releases it, and because it works on a floor. Not because a website reviewed it. Any campaign that treats editorial as the primary target is optimising for the wrong thing.
It also has a media ecosystem that is meaningfully separate from England's. Scottish outlets, Scottish broadcast programming and Scottish funding structures operate on their own terms, and a campaign that treats Scotland as a region of a UK campaign will miss most of what is available.
An electronic campaign run from Glasgow therefore works on two levels at once. The genre list reaches the writers who cover this music seriously. The city list builds the local foundation that makes the genre pitch credible, because an artist who already has coverage, radio support and a live reputation at home is a considerably easier sell than one who arrives with only a track.
The electronic list
Where the work actually happens in an electronic campaign at this level.
Direct servicing to DJs and selectors. In this genre, frequently the highest-value activity in the whole campaign.
Noods, 1020, Balamii, EH-FM, Clyde Built and their equivalents. Small on paper, genuinely influential in practice, and open to new music.
Extensive UK dance coverage that is accessible to developing artists.
For the leftfield, eclectic and genuinely strange end of the genre.
The smaller sites and newsletters covering specific corners of the genre properly.
Guest mixes and podcast slots, which in electronic music do more than a review ever will.
The Glasgow list
Scottish music media, which functions as its own ecosystem rather than a subset of the UK's.
Scotland's most significant independent cultural title. Real influence, and correspondingly selective.
Glasgow-born platform with strong sessions output and a genuine record of early support.
Significant reach and heavily contested. The Introducing route is the realistic way in.
Community station embedded in Glasgow's music scene.
University-based, long-running and closely tied to the city's underground.
The rooms
King Tut's Wah Wah Hut remains one of the most storied small rooms in Britain and still functions as a genuine credential. Nice N Sleazy and Broadcast anchor the Sauchiehall Street circuit. Stereo and Mono cover the more independent and vegan-café-adjacent end, both with deep scene roots. SWG3 spans several room sizes and hosts much of the city's electronic programming. The Hug and Pint is a reliable early room. Barrowland Ballroom is the room every Scottish band is aiming at, and playing it is a story in itself.
How we pitch it
DJ servicing before press outreach
Getting the record into the hands of the right forty DJs will usually do more than any placement. We treat this as the core of the campaign, not an afterthought.
The label is part of the pitch
In electronic music the label carries a large share of the credibility. If you are self-releasing we will be honest about how that changes the ceiling, and what to do about it.
What's included
Electronic artist in Glasgow?
Send us the track, the release date and where you have played. We will tell you what is realistic before you spend anything.