Indie music PR that starts with the list
Fixed-price press campaigns for indie and guitar bands across the UK. You approve every outlet before we pitch a single one, and you watch the replies land in real time.
Indie is the most crowded desk in British music press. The editors at the titles that matter receive well over a hundred pitches a week, most of them a Dropbox link and a paragraph of adjectives. The campaigns that get through are the ones with an angle a writer can build a piece around before they have even pressed play.
That is the part we spend our time on. Before a single email goes out we work out what the story actually is — the scene you sit in, the records you sit next to, the reason a features editor should care this month rather than next. Then we show you the list of who we intend to send it to, and you approve it.
The outlets an indie campaign is built around
These are the kinds of outlets an indie campaign is built around. Coverage is never guaranteed anywhere — but you will always know exactly who was approached.
Long-standing champion of new guitar music. Strong on premieres and artist-led features for acts with a clear identity.
Runs Neu, one of the most reliable first-look slots in British indie. Weighted heavily towards emerging bands.
Youth-facing, playlist-adjacent, and quick to move on a band with momentum. Hype List placements travel a long way.
Broad remit across guitar music and beyond. Receptive to strong visuals and a defined aesthetic.
Print-first, illustrated, deeply scene-embedded. Slower turnaround, disproportionate credibility with A&R.
Long-form, considered, sceptical of hype. Best approached with substance rather than momentum.
For the more angular, experimental or literate end. Will not respond to a standard one-sheet.
Specialist shows first — the route in is almost always a specialist DJ rather than the daytime playlist.
Genuinely open to unsigned submissions and a realistic first radio play for a debut single.
Independent, prolific, and consistently early on bands who go on to break.
Long-running, generous with coverage for developing artists with a real story.
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 an indie pitch
Scene before sound
Editors think in scenes. A band from the Windmill orbit, the Leeds DIY circuit or the Glasgow guitar underground is a legible thing to write about; a band with 'influences ranging from The Smiths to Radiohead' is not. We position you inside a scene an editor already covers.
The live proof point
Indie press still respects the room. A sold-out show at a well-regarded 150-cap venue, a support slot with a credible touring act, or a festival billing gives a writer a concrete reason to move now.
Print runs on a different clock
So Young and Loud And Quiet work months ahead. If print matters to you, the campaign has to start earlier than a digital-only one — we will tell you honestly whether your timeline allows for it.
Premieres are a trade
A premiere gives an outlet exclusivity in return for a bigger placement. It is worth doing once per campaign, with the right outlet, for the right asset — and it is worth nothing if offered to eleven places at once.
The sub-scenes we work across
Post-punk and the south London guitar axis. Jangle and dream-pop. Shoegaze and its current revival. Midlands and northern DIY. Bedroom indie that has grown into a live band. Each of these has a different set of receptive writers, and a pitch written for one will be ignored by the others.
What's included
The same package regardless of genre. What changes is who we pitch, how we pitch them and when.
Indie PR by city
Where local media and the local circuit change how an indie campaign should be run.
Questions
Planning an indie 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.