PR for unsigned artists

The gap you've probably already found

If you have spent an afternoon emailing music PR agencies, you will have noticed two things. Most of them do not publish prices. And the ones that eventually give you a number quote somewhere between one and three thousand pounds for a single, usually on a three-month minimum.

That is not agencies being greedy. It reflects a real cost: a person hand-building a media list and writing two hundred personalised emails is expensive, and at £400 the maths genuinely does not work for them. So the industry's honest answer to an unsigned artist has been no.

Underneath that floor sits the submission-tool tier — thirty to a hundred and twenty pounds to fire your track at a list of curators. It has its uses. It is not a campaign.

Between about two hundred and seven hundred pounds, which is where most unsigned artists' actual budget lives, there has been almost nothing credible. That gap is the entire reason this agency exists.

How we make it work at this price

Two things. The research and drafting layer is AI-assisted, which removes most of the hours that made a campaign cost a thousand pounds — every pitch is still reviewed and personalised by a person before it is sent, and the media list is still built and checked by hand, but the grunt work is no longer the bottleneck.

And the asset production is in-house. Press kit, landing page, artwork, video edits and ad campaigns are things we already build, so adding them to a press campaign costs us far less than buying them separately would cost you. That is why the package is worth around £2,095 at market rates and sells for £695.

What we'll tell you straight

An unsigned artist with a few thousand monthly listeners is not getting a national newspaper feature, and any agency implying otherwise is taking your money on a promise it knows it cannot keep.

What is genuinely achievable: specialist blogs, regional and community radio, BBC Introducing, genre-specific outlets, playlist consideration, and a set of professional assets that make every future approach easier. That is a real outcome and it compounds. It is also not the same thing as a breakthrough, and we will not sell it as one.

If we think you should not be buying PR yet — because the recording is not ready, the timeline is too short, or the money would do more work as a tour budget — we will tell you that at the enquiry stage. We lose bookings that way. We would rather lose them there than three months later.