Country PR for a market that finally exists
UK country and Americana campaigns built around the small, specific, genuinely engaged set of outlets that cover this genre properly. Fixed price, approved list, no guesswork.
British country has gone from a curiosity to a functioning market in about a decade, and the media around it has grown with it. That is good news and it comes with a catch: the ecosystem is small enough that reputation travels instantly. A badly targeted pitch does not just get ignored, it gets remembered.
The advantage of a small ecosystem is that a well-run campaign can genuinely reach most of it. Where an indie campaign is triage across hundreds of outlets, a country campaign is a considered approach to a few dozen, and the standard of the pitch matters far more than the volume.
The outlets a country campaign is built around
The core of a UK country and Americana campaign. Small, specific, and worth approaching properly.
The most significant dedicated country title operating in the UK. Covers both Nashville output and British artists.
Focused on women in country, with strong coverage of UK and Irish artists. Genuinely open to emerging acts.
Bob Harris has been the single most important supporter of British country for years. Specialist play here is transformative for a developing artist.
National reach within the format. Playlist-driven rather than personality-driven.
Dedicated UK country station with a committed listenership and a real interest in new British acts.
The main UK country festival. Its programming cycle is a genuine campaign milestone worth building towards.
Industry-facing as much as fan-facing, which makes it useful for more than coverage.
Long-running country and roots title with a loyal print readership.
Independent UK country coverage with a focus on songwriting and storytelling.
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.
How we build a country campaign
The song's story is the pitch
More than any other genre we work in, country press wants to know what the song is about and where it came from. A campaign built on production credits and streaming numbers will not land. One built on a specific, true, well-told story usually will.
British, not Nashville-adjacent
UK country outlets are actively looking for British artists to champion and are unimpressed by acts that present as imitation Americana. Where you are from is an asset here. We lean on it.
Radio is the centre, not the extra
In most genres radio is a bonus. In UK country, specialist radio is frequently the single highest-value placement available, and campaigns should be timed and built around it.
The festival calendar is the campaign calendar
The Long Road and Country Music Week create natural pegs. Releasing into that window, with a pitch that references it, materially improves your odds.
What we work across
Traditional country and neo-traditional. Americana and alt-country. Country-pop with crossover intent. Bluegrass and string band. Country-adjacent singer-songwriters who are not sure whether they belong in the genre at all — a very common position, and one worth resolving before a campaign rather than during it.
What's included
The same package regardless of genre. What changes is who we pitch, how we pitch them and when.
Country PR by city
Where local media and the local circuit change how a country campaign should be run.
Questions
Planning a country 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.