PR for emerging artists
You have traction, some coverage and early industry interest. This is the point where a campaign has the most to work with, and where a badly run one costs the most.
You have something to build on
Emerging is the most productive stage for a press campaign, because the pitch is no longer speculative. A support slot with a credible touring act, a festival billing, a track that has moved on its own, a first piece of national coverage. Each of these gives a writer a reason to move now rather than later.
It is also the stage where the sequencing starts to matter. Coverage builds on coverage. A placement in a respected specialist outlet is what makes the next tier up take the pitch seriously. Running that in the wrong order wastes the good material.
Where the risk sits
The risk at this stage is not wasting a few hundred pounds. It is burning a relationship. Editors and specialist DJs remember badly targeted pitches, and an artist who arrives too early at a title they were not ready for is harder to place later, not easier.
That is a large part of what the approved media list is for. You see who we intend to approach and you can hold back the names you would rather save for the record after this one. Most agencies simply do not give you that control.
What we'll push back on
If you have real momentum, the temptation is to spend everything on one release. We will usually argue against it. Three coordinated campaigns across a year, each building the audience assets the next one draws on, tends to outperform a single expensive push by a distance.
We will also tell you if the honest answer is that you have outgrown us. If you need a publicist with fifteen years of national relationships and a retainer to match, that is a different service and we will say so.
What £695 buys
Itemised at typical UK market rates for each component bought on its own.
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.
Questions
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.