Start your trialNotes from inside the work.
Practical guides for music PR professionals. Written by someone who actually does the work.
How a One-Person PR Agency Runs Five Concurrent Campaigns Inside TAP
Five artists, five campaign timelines, one operator. A Liberty Music PR case study covering Wave 1 sends, follow-up cadences, the agent surface, and the moves the workspace makes routine.
The Complete Guide to UK Radio Promotion in 2026
How UK radio promotion actually works in 2026, from BBC Radio and community stations to submission best practices, contact research, and follow-up strategy. Written by a working radio plugger.
How to Run a Music PR Campaign Without Losing Your Mind
Five years running radio campaigns at Liberty Music PR taught me the workflow that holds. Tuesday morning beats Friday afternoon. Named contacts beat generic inboxes by roughly 5x. WARM plays are the real metric, not email replies. Here's how to run a campaign without losing the thread.
Music Contact Enrichment: What It Is and Why It Matters
Most contact lists float. Names and emails, no context. After five years pitching for Liberty Music PR, the data point that mattered most wasn't role or genre. It was whether the inbox was read. Named contacts reply at roughly five times the rate of studio@ inboxes. Enrichment is what surfaces that distinction.
TAP Is the First Music PR Tool an AI Agent Can Actually Use
No music PR tool has a public API. No competitor has an MCP server or llms.txt. TAP is the first platform where an AI agent can list contacts, run enrichment, draft pitches, and log outcomes programmatically.
BBC 6 Music Case Study: What Three Real Campaigns Taught Me About the Specialist List
Three Liberty campaigns from this year, EG (153 plays), RB (96 plays), BE (39 plays pre-release with 1,790 emails sent). What worked at 6 Music, what didn't, and the March 2025 reply that reset how I build the specialist list.
BBC Radio Contact Enrichment: The Complete Guide
Five years of pitching BBC stations as a Liberty Music PR plugger taught me which contacts reply and which don't. Named producers reply roughly five times more often than the studio@ inboxes most agencies still pitch. Here's how to build the list properly.
BBC Radio Pitch Templates: Station-by-Station Breakdown
Ready-to-adapt pitch templates for BBC Radio 1, 1Xtra, Radio 2, 6 Music, and BBC Introducing. What each station expects, how producers process submissions, and the formats that get responses.
Best UK Radio Promotion Tools (2026)
An honest comparison of tools used by UK radio promoters in 2026. From spreadsheets and WARM to TAP and SubmitHub, what each does well, what it doesn't, and which combination actually works.
Music PR Pitch Writing: The Complete Guide
How to write music PR pitches that actually get responses. Real templates, success rate benchmarks, and the pitch framework used by professional UK agencies.
Radio Promotion Tips That Actually Work
Practical radio promotion advice from a working UK radio plugger. What actually gets plays, what wastes everyone's time, and how professional agencies run campaigns.
TAP vs Spreadsheets: Why PR Agencies Switch
I ran Liberty campaigns from spreadsheets for years. The thing that breaks first isn't capacity, it's memory. Which contact replied last time, who bounced, who said send the next one the same way. A spreadsheet can't tell you which inbox is read by a real person. That distinction is worth roughly 5x reply rate.
What Is Music Contact Enrichment?
Music contact enrichment turns a basic email list into something you can pitch with confidence. Across five years at Liberty Music PR, the data point that drove reply rate hardest wasn't role or genre. It was whether the address was a real person or a generic inbox. Named contacts reply roughly 5x more often.