Press coverage doesn't happen by accident. Behind most blog features and playlist adds is an artist (or their publicist) who sent the right pitch to the right person at the right time. Here's how to do that yourself.
Build a Targeted Press List
The biggest mistake artists make is pitching outlets that don't cover their genre. Pitchfork isn't going to write about your country EP. That niche shoegaze blog isn't interested in your trap beats.
Start by finding blogs and publications that have covered artists similar to you. Search for "[artist you sound like] + blog feature" or "[your genre] + music blog" and take notes on who comes up. Look at which outlets covered albums you admire.
Go Niche First
The big outlets (Pitchfork, Stereogum, Consequence) receive thousands of pitches. Your odds are better with smaller blogs that specialize in your sound. A feature on a respected niche blog that reaches 5,000 of the right listeners is worth more than being ignored by publications with millions of readers.
Build a list of 20 to 30 outlets. Include the publication name, the specific writer who covers your genre (if you can find them), and their email or submission process.
Find Contact Information
Check the publication's contact page or about section. Many blogs list submission guidelines. Twitter/X bios often include email addresses. LinkedIn can help you find specific writers. Some publications use submission forms (use them rather than hunting for emails).
Write a Pitch That Gets Read
Music writers receive dozens of pitches daily. Most get deleted after the subject line. Here's how to be one of the ones that gets opened.
Subject Line
Keep it simple and specific: "New single from [Artist Name] (FFO: [reference artist])" or "[Artist Name] announces debut LP, out [date]." The FFO (For Fans Of) reference helps writers quickly assess if your music fits their coverage.
First Paragraph
Lead with the hook. What makes this release interesting? A unique story, an impressive collaborator, an interesting creative approach. Get to the point immediately. Don't waste the first paragraph on generic pleasantries or explaining how much you love their publication.
The Essentials
Include: artist name, release title, release date, genre/sound (with reference points), and one link to stream the music. That's it. No attachments, no multiple links, no 500-word biography. Writers will ask for more if they're interested.
Keep It Short
Your entire pitch should fit on one screen without scrolling. If a writer has to dig through paragraphs to find the basics, they won't.
Timing Matters
Pitch too early and your release gets forgotten. Pitch too late and publications have already planned their coverage calendar.
The Sweet Spot: 4 to 6 Weeks Before Release
This gives writers time to listen, decide if they want to cover it, and write something before your release date. For album premieres or features that require more editorial work, you may need to pitch even earlier.
Singles vs. Albums
Singles move faster. Two to three weeks of lead time can work. Albums need more runway. If you're hoping for a review (not just a premiere), assume writers need time to sit with the full project.
Day of the Week
Tuesday through Thursday mornings tend to work best. Monday inboxes are crowded with weekend backlog. Friday pitches often get buried before the writer returns Monday.
Make It Easy for Writers
Writers are busy. The easier you make their job, the better your chances.
One Link to the Music
Avoid attaching MP3s—many writers prefer streaming links, and large attachments can trigger spam filters. Don't include five different streaming links. Give them one link where they can play the music immediately without downloading anything or creating an account.
Gatefolded works well for this. You can set up an email allowlist so press contacts can access your advance copy with their email, and you'll know when they listened. One clean link, no friction.
Press Assets
Have high-resolution photos ready to send when asked. Don't include them in your initial pitch (attachments hurt deliverability), but have a folder ready with 2 to 3 press photos, album artwork, and a logo if relevant.
One-Sheet
A one-page document with your bio, album details, release date, streaming links, and contact info. Some writers find these helpful for reference. Keep it to one page.
Follow-Up Etiquette
No response doesn't always mean no. Writers miss emails, get busy, or intend to respond later and forget.
One Follow-Up, Maximum
Wait 7 to 10 days after your initial pitch. Send a brief, friendly follow-up: "Hi [name], just bumping this in case it got buried. No pressure, just wanted to make sure you saw it."
If you don't hear back after the follow-up, move on. Multiple follow-ups annoy writers and hurt your chances with future releases.
Be Gracious Regardless of Outcome
If they pass, thank them anyway. If they cover you, share and promote their piece enthusiastically. You're building relationships for the long term, not just this one release.
What to Do When You Get Coverage
When a publication features your music:
- Share it across all your platforms
- Thank the writer publicly and privately
- Add the quote to your press kit
- Note the writer's name for future pitches (they already like your music)
Realistic Expectations
Even with a strong pitch and good music, most outreach won't result in coverage. Response rates in the range of 10 to 20 percent are typical, though this varies widely by genre and outlet. Of those responses, maybe half turn into actual features.
This is why volume matters. If you pitch 30 outlets and 3 write about you, that's a successful campaign. Expect silence from most of your list. Don't take it personally.
The Long Game
Press relationships build over time. The blogger who ignores your first release might cover your third. The writer who features your single will remember you when you have an album. Keep track of who covers your genre, keep pitching each release, and recognize that visibility compounds over time.