Electronic music PR in London
Two lists, run as one campaign. The specialist electronic press, and the London 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.
What actually helps in London is scene legibility. The city's music press thinks in venues and orbits. The room you play in tells a features editor more about you than any description of your sound. A campaign that can place you inside one of those orbits will always outperform one that simply says you are from London.
An electronic campaign run from London 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 London list
London-based and London-facing media worth targeting alongside the national titles.
The default listings authority for the city. Broad reach, heavily contested, and realistic once you have a show worth listing.
Peckham-based, youth-led and genuinely influential in London's rap and R&B scenes.
Dalston-based with international reach. Extremely influential across electronic and leftfield music.
Central to London club culture across garage, grime, house and bass.
Broad remit and receptive to emerging London artists across genres.
The rooms
The Windmill in Brixton has produced more press-relevant guitar bands in the last decade than any other room in Britain, and a residency there is a story in itself. MOTH Club and The Shacklewell Arms anchor the Hackney circuit. The Lexington and Sebright Arms remain reliable proof-of-life rooms for developing bands. Corsica Studios, fold and Venue MOT cover the club end. New River Studios and Cafe OTO serve the experimental scene. For a step up, EartH, Village Underground, Scala and Electric Ballroom are the rooms that signal an artist has an audience rather than a following.
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 London?
Send us the track, the release date and where you have played. We will tell you what is realistic before you spend anything.