Rock PR with the receipts
Press campaigns for British rock bands, priced openly and reported honestly. You approve the outlet list before we send, and you see every reply.
Rock has the most durable press infrastructure of any genre we work in. The magazines still matter, the specialist radio still matters, and the readership still buys records and tickets, which makes coverage worth materially more here than in genres where a placement is a link and nothing else.
It also has the longest lead times. Print schedules run months ahead and the campaigns that fail are usually the ones that started six weeks before release with print ambitions. We will tell you at the outset whether your timeline supports what you want.
The outlets a rock campaign is built around
The working level of a UK rock campaign at this price.
Independent, prolific, and genuinely open to unsigned rock and metal. One of the best first targets in the genre.
Independent rock coverage that is accessible to developing bands.
Extensive live and release coverage with a real commitment to bands nobody else is writing about yet.
Rock programming on community and internet stations. Committed audiences who turn up to gigs.
Regional shows, and the established route towards national rock specialist play.
The smaller sites and zines covering British rock. Lower volume, higher reply rate.
Interview formats with genuinely engaged listenerships.
Smaller festivals and regional promoters, which for rock bands are often worth more than a review.
This is an illustrative view of the landscape rather than the list you would receive. Your actual media list is built for your specific release and sent to you for approval before anything is pitched. Coverage is never guaranteed anywhere.
The tier above, named honestly
The rock press with real commercial weight. Long lead times, high bar, and worth building towards deliberately.
Significant print readership with real purchasing power, and months of lead time.
Heavier and younger-skewing, with genuine influence over its audience.
Overlaps with the heavier end of rock and is strong on scene coverage.
The digital arm covering that same territory, with quicker turnaround and slightly lower barriers.
National rock station with a committed listenership. Playlist placement has real commercial effect and is hard won.
We list these so you can see the ladder, not to imply that one campaign puts you on it. If your release is genuinely in range of this tier, we will tell you, and we will tell you what it would take.
How we build a rock campaign
Start earlier than you think
Print is where the value is in this genre, and print works three to four months out. A campaign that begins six weeks before release is a digital campaign whether you intended it to be or not.
The live record is the credential
Rock press respects a touring history more than a streaming count. Support slots, festival billings and a real gig history belong at the top of the pitch.
Heritage framing works here
Explicit lineage, meaning the bands you sound like and the era you draw from, is an asset in rock press where it would be a liability in indie. We write into that rather than around it.
Physical matters
Vinyl, cassette and merch give rock press something concrete to write about and give the audience something to buy. If a physical release is planned, it belongs in the campaign.
What we work across
Classic and blues rock. Hard rock. Prog and its modern descendants. Stoner and desert rock. Southern-inflected British rock. Grunge revival. Instrumental and post-rock.
What's included
The same package regardless of genre. What changes is who we pitch, how we pitch them and when.
Rock PR by city
Where local media and the local circuit change how a rock campaign should be run.
Questions
Planning a rock release?
Send us the track and the date. We will tell you which outlets are realistic, what the timeline needs to be, and whether it is worth running at all yet.