Radio promotion combines contact research, music submissions and a record of what happened. The parts you control are the fit, the accuracy of the pitch and the care you take with the recipient’s instructions. Airplay remains an editorial decision.
These tips provide a preparation process for your next release. They do not present private campaign data or promise replies and plays.
1. Research the show, not just the station
Listen to recent programmes and note which ones cover music like yours. A station can carry several shows with different editorial interests.
Write down why this release fits each target. Do not use an arbitrary listener threshold or contact count as a substitute for that research.
Use the BBC radio contact guide when checking BBC programmes and the UK radio promotion guide for the wider planning process.
2. Check the published route
Find the current submission guidance. A shared music inbox, a portal or a named professional contact may be appropriate, depending on what the programme asks for.
Do not guess an address or assume that a listener contact form accepts songs. Record the source URL and date checked with the contact.
For BBC music upload guidance, start at BBC Introducing and read the current instructions and terms before submitting.
3. Make the music easy to assess
Prepare the artist name, track title, release date and a working listening link. Check the link from outside your own logged-in account.
Have the relevant assets ready, such as a short bio, photographs and downloadable audio. Follow the requested format rather than attaching large files to every cold pitch.
Make sure you have permission to use the audio, photographs and any quotes you include.
4. Explain the fit in the pitch
A clear pitch answers:
- Why does this track fit this specific programme?
- What is the release and when does it come out?
- Where can the team listen?
- What consideration are you asking for?
Add supporting context only when it is relevant and true. A release does not need an invented streaming milestone or an exaggerated claim of station support.
The pitch writing guide provides placeholder structures you can adapt in your own voice.
5. Plan the work around actual deadlines
Start by checking outlet deadlines and your own release date. Schedule enough time for research, assets and review.
A useful planning sequence is preparation, priority pitches, response review, any appropriate follow-up and a final write-up. It is an example workflow, rather than a universal timetable or a proven send window.
Keep reminders somewhere you will see them. A manageable plan is more useful than a sequence you cannot maintain alongside making the music.
6. Make follow-up a considered decision
Read the recipient’s policy and the previous interaction before sending another message. If follow-up is welcome, identify the original release and add something relevant.
A corrected link, confirmed feature or requested asset can be a useful update. Do not imply that another station played the track unless you have evidence.
Stop on a refusal or opt-out. Silence does not justify repeated pitches through different addresses or private social accounts.
7. Track replies and airplay separately
Keep a log of:
- Pitch date, recipient and the version sent
- Reply, request, bounce or no response
- Any follow-up and why it was appropriate
- Confirmed play, with station, programme and date
- The source supporting that outcome
A positive reply or a request for a WAV is not a confirmed play. Check published tracklists, recordings or a monitoring report within its documented coverage.
Common mistakes to avoid
Skipping the source check. An old record may have the right name but the wrong role or route.
Ignoring the requested format. Read the submission instructions before preparing the email or upload.
Inventing momentum. Use only support, milestones and live dates you can substantiate.
Treating follow-up as automatic. Respect a pass, an opt-out and the programme’s stated preferences.
Reporting an inference as a result. Keep a reply separate from a play and a submission separate from a playlist addition.
Review the release honestly
Write up the actual work and outcomes. Save the dated evidence and update each contact’s preferences or role when a reliable source establishes a change.
Use that record to decide which programmes fit the next release. Previous support can provide context, but it does not guarantee another play.
Keep the radio work with your release
TAP brings your release details, contacts, pitches and replies together. Your first release is free. Later packs cost £59 for a single, £99 for an EP or £149 for an album, one-off. Nothing sends without you.
Start your free release