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Liverpool festival PR opportunities Checklist

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Liverpool festival PR opportunities Checklist

Liverpool festival PR opportunities

Last reviewed 12 March 2026

By TAP Editorial Team

Festival appearances are the fastest way to build credibility in Liverpool's music scene and establish regional momentum. Sound City and Liverpool International Music Festival sit at the centre of local media attention, attracting BBC Introducing scouts, national music press, and booking agents—but only if your PR strategy is planned months in advance and coordinated with festival teams.

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Pre-Festival Planning & Selection (3–4 months ahead)

Identify which festivals align with your artist's genre and audience
Critical
Sound City draws indie, alternative, and emerging acts; Liverpool International Music Festival casts wider but has strong world music and progressive artist programming. Study past lineups and listen to how your artist fits—forced submissions waste everyone's time.
Establish direct contact with festival PR/booking teams early
Critical
Don't wait for an open call. Email the festival director or PR lead 3–4 months before submissions close with a brief about your artist, previous press coverage, and why they're a fit. Personal contact accelerates decision-making.
Prepare a festival-specific EPK with recent press clippings
Include BBC Introducing Liverpool plays, local NME/The Quietus coverage, and any national radio support. Festivals want artists with momentum, not just raw talent. Highlight regional credibility.
Confirm submission deadlines and judging criteria in writing
Critical
Many festivals use tiered deadlines with early-bird acceptance rates. Missing a deadline by one day can push you into a larger pool. Document exact requirements and contact name.
Research festival audience demographics and media coverage patterns
Sound City draws 8,000–10,000 across multiple venues; Liverpool International Music Festival is more dispersed. Know where your target audience attends and which local press outlets cover each festival.
Book headline or late-afternoon slots strategically
Morning or very early evening slots attract fewer press and industry. If possible, negotiate timing that maximizes visibility. This matters especially for first-time festival appearances.

Post-Booking: Local Press & Radio Campaign (6–8 weeks before festival)

Pitch festival appearance as a news hook to BBC Introducing Liverpool and local radio
Critical
Send a short email to Radio City, Merseyside radio producers, and BBC Introducing describing the artist and festival slot. Frame it as 'upcoming local showcase' rather than asking for a favour. Include a Spotify link.
Create a festival-exclusive interview or session opportunity
Offer a live session, quiz, or short feature interview to local radio in exchange for festival promotion. BBC Introducing Liverpool, in particular, loves exclusive session content that demonstrates an artist's appeal beyond the festival context.
Reach out to regional music bloggers and independent music websites
Sites like Getintothis and local Merseyside culture publications cover festival lineups in depth. A single feature across these outlets reaches serious music fans and festival-goers. Send them a personal message, not a mass blast.
Coordinate with festival PR team on joint press release timing
Critical
When the full festival lineup drops, the festival PR team will push it out. Ask them to flag your artist prominently or offer an additional quote about the artist's significance to the bill. Timing matters—release your artist coverage around their announcement.
Alert local venues and promoters about festival appearance
A festival slot validates an artist and builds venue manager relationships. Let venues know your artist will be at the festival; some may offer additional gigs around the festival weekend.
Build a festival-specific social media campaign 4 weeks out
Post clips from previous gigs, behind-the-scenes footage, and festival countdown content weekly. Tag the festival and local music journalists. Organic social engagement signals artist momentum to festival organisers and press.
Prepare the artist for media interviews (radio and print)
Brief them on talking points: the festival's significance in Liverpool, what they'll bring to the bill, upcoming releases. Journalists will ask about the local scene—make sure your artist can speak knowledgeably.

During Festival: Press & Industry Coverage Capture

Arrange dedicated press photographer or videographer at the set
Critical
Festival official photography is often low-quality or not provided to artists. Hire a freelance photographer familiar with live music (check local Liverpool music photography networks). Professional stills are essential for follow-up PR.
Confirm media attendance and conduct radio/press interviews on-site
Critical
Email BBC Introducing Liverpool and local radio newsrooms 1 week before, confirming artist availability for 10–15 minute interviews at the festival. Some will send journalists; others will do phone or video interviews. Provide backstage access details.
Live-tweet and capture social media content during the set
Delegate one team member to film short clips (15–30 seconds) for TikTok, Instagram Reels, and Twitter. Capture crowd reaction and key musical moments. Post in real-time with festival hashtags.
Gather artist testimonial or quote immediately after performance
Record a short video quote from the artist about the festival experience, the crowd, and what's next. Use this for immediate social media posting and follow-up press releases.
Network with national music press and booking agents in attendance
Find out which journalists and agents are at the festival. Introduce your artist (briefly, respectfully) if the opportunity arises. Don't aggressively pitch—presence and professionalism make the impression.
Collect industry business cards and contact details for follow-up
If agents, publicists, or journalists express interest, get their contact and note their outlet/focus. Send a thoughtful follow-up email within 48 hours, not a generic pitch.

Post-Festival PR & National Escalation (1–2 weeks after)

Release a post-festival press release highlighting press coverage and industry response
Critical
If BBC Introducing Liverpool, Radio City, or national outlets covered your artist, include quotes and links in a new press release. This formalises momentum and can attract further coverage from outlets that missed the live event.
Repurpose festival performance footage and photos across all platforms
Critical
Create a short YouTube edit (90 seconds–2 minutes) from the live set, post festival photos to social media and your website, and share clips across press materials. This content proves live credibility to bookers and national media.
Send personalised follow-up emails to national music journalists present
If journalists from The Guardian, NME, or Pitchfork were at the festival, send a brief note thanking them for their interest and offering upcoming release news, an exclusive session, or interview. Don't expect immediate response, but keep the relationship warm.
Pitch the artist to BBC national radio (Radio 1, Radio 2, Radio 3) with festival context
Critical
Festival appearances carry weight in Radio 1/2 and Radio 3 pitches. Highlight the performance, local press pickup, and any booking agent interest as evidence of wider appeal. Include a link to the live footage.
Analyse press coverage and build a clippings report
Track all mentions: radio play counts, article links, social media reach. Document metrics (impressions, reach) and compile into a one-page summary for the artist and their team. This data helps with future festival pitches.
Identify secondary festivals and touring opportunities from newfound industry contacts
Festival bookers and agents met at Sound City may recommend your artist to other regional festivals or promoters. Follow up on any recommendations within 1 week while momentum is fresh.
Update artist biography, website, and streaming platforms with festival credit
Add the festival appearance to Spotify artist biography, press kit, and official website. Credits build credibility cumulatively—each festival appearance strengthens future pitch materials.

Venue & Promoter Relationship Building Around Festivals

Contact O2 Academy, Kazimier, and independent venue managers before festival season
Critical
Tell them about upcoming festival appearances and express interest in headline or support slots around the festival date. Festival credibility makes you more attractive to venue programmers for standalone shows.
Offer festival-exclusive sessions or rehearsal content to smaller venues
Some smaller venues run live session series. Offer a pre- or post-festival exclusive performance or in-studio session. This keeps momentum between festival appearance and next official release.
Create a local listening event or pop-up performance tied to festival timing
Announce a free or low-cost pre-festival listening party at a local café, record shop, or independent venue. Invite local press, fans, and fellow musicians. This builds anticipation and gives journalists a second story angle.
Collaborate with other festival-booked artists for joint promotion
If two or three artists from your roster are at the same festival, suggest a joint social media takeover, interview, or post-festival showcase gig. Shared audiences amplify reach.
Build a festival appearance timeline across the year
Don't treat festivals as one-off opportunities. Map out 3–5 festivals across the year (Sound City, International Music Festival, smaller regional events) and pace PR campaigns to maintain consistent visibility.

Strategic Pitching to National Media Post-Festival

Use festival appearance as credibility anchor in national radio pitches
Critical
When pitching to BBC Radio 1 or commercial national radio, lead with the festival credit. Journalists respond better to artists with proven live draw and regional traction than raw talent alone.
Pitch 'emerging Liverpool artist' angle to music press with local focus
Outlets like The Quietus, Crack, and Talkhouse often run regional artist features. Position your artist as part of Liverpool's ongoing music scene renaissance following the festival appearance.
Prepare a festival-specific media kit with performance video and live photography
Critical
When sending to national outlets, include a 90-second performance edit, 5–6 professional live photos, and a one-page artist biography emphasising the festival slot. Visual evidence of live presence matters.
Monitor What's Hot on BBC Music and pitch for playlist consideration post-festival
BBC Music playlists (BBC Music Introducing, New Music Daily) may feature festival performers. After the festival, pitch the artist's latest track with festival context to BBC Music curators.
Document any industry contacts (agents, managers, booking promoters) made at the festival
Send each contact a brief, personalised follow-up within 48 hours referencing your conversation. Include a link to festival performance and one upcoming release or session. Nurture these relationships quarterly.

Liverpool festivals are high-leverage opportunities, but only if approached strategically and with respect for the festival's own PR timeline. Plan months ahead, coordinate relentlessly with festival teams, and treat post-festival follow-up as seriously as the appearance itself. The artists building national careers from Liverpool do all three.

Pro tips

1. Start festival PR 3–4 months before the event, not 4 weeks. Festival programmers and press teams work on long lead times. Your pitch needs to arrive when they're actively building publicity, not scrambling at the last minute. Early contact with festival PR teams also creates opportunities to influence artist positioning on the lineup.

2. BBC Introducing Liverpool coverage of a festival appearance carries disproportionate weight in national radio pitches. If you can secure BBC Introducing live session or interview around the festival, that single credit opens doors to BBC Radio 1 and regional BBC stations far more effectively than any direct pitch. Treat BBC Introducing as a stepping stone to national BBC radio.

3. Venue relationships in Liverpool work differently than London. Smaller scenes mean programmers know who's serious and who isn't. If you book a festival appearance, immediately contact independent venue managers (Kazimier, North Street East, Baltic Social) about headline or support slots. Festival credibility makes you programmable. Neglect this and you miss quick revenue opportunities.

4. Festival photographer access is often poor. Hire your own freelancer for 2–3 hours during your set. Professional live stills are non-negotiable for follow-up national press pitches, social media, and artist branding. The festival official photos rarely capture your artist well enough for press use.

5. Festivals aren't endpoints—they're inflection points. The real PR work happens in the 2 weeks after the festival when momentum is highest. That's when you pitch national radio, approach secondary festival organisers, and book venue slots. Artists who wait until the next release to use festival momentum waste the opportunity entirely.

Frequently asked questions

How early should we submit to Sound City and Liverpool International Music Festival?

Submit 3–4 months before the festival's public announcement deadline, not on the deadline itself. This gives programmers time to consider your artist alongside emerging acts. Contact the festival PR or booking team 4 months ahead to express interest and confirm submission requirements—personal contact often accelerates review decisions compared to an anonymous online form.

Should we pitch the festival appearance to BBC Introducing Liverpool before or after it's confirmed?

After confirmation, but well in advance—6–8 weeks before the festival date. BBC Introducing Liverpool will promote the appearance if your artist is already in their rotation or recently played. Pitch it as a 'key local moment' and offer them an exclusive session or interview around the festival date to give them their own story hook.

What's the realistic timeline for converting a festival appearance into national radio play?

4–8 weeks post-festival, assuming you have a single out or upcoming release. Festival credibility matters most when paired with new music to pitch. Use the festival as context when pitching BBC Radio 1, Radio 2, or national commercial stations. Without a newsworthy release, the festival credit alone rarely drives national radio; it anchors credibility in a broader campaign.

How do we measure whether the festival PR campaign actually worked?

Track local and national press mentions (BBC, Radio City, music publications), social media reach during and after the festival, and any booking or industry inquiries that reference the festival appearance. Build a post-festival clippings report documenting links, radio play, and estimated reach. Use this data to justify future festival campaign investment and to refine targeting for the next event.

Can we secure venue headline slots around festival timing to maximise momentum?

Yes, but contact venues 2–3 months before the festival, not after booking is confirmed. Frame it as 'our artist is building momentum toward [festival name]' and propose a pre-festival show to drive festival attendance. Post-festival headline slots are tougher to book quickly, but if there's strong press or industry response, some venues will accommodate last-minute additions.

From the field

Proof points

BBC Introducing local replies fastest: Within 48 hours for fits, silence for misfits (Liberty regional outreach data)
Community station rotation lag: 1-2 weeks from pitch to first play (WARM monitoring across UK community network)
Named contact reply rate vs studio@: 5x higher (Liberty Music PR campaign data, 2024-2026)
Local-first builds national over time: 6 Music tends to follow 3-4 strong local rotations (EG and Brii Elliss campaign trajectories)

What actually happened

Roam Belle: 96 plays across UK regional and community stations, accelerating then declining over a five-week curve. (Spring 2025)

Liverpool's scene runs through BBC Introducing Merseyside, Bido Lito and a handful of named tastemakers. The 24 Kitchen Street and Future Yard rotation matters more than any city-wide blast. I have had producers reply in 24 hours when the subject line names a specific Sound City showcase, and total silence when the email goes to a generic studio inbox. Local credibility is the gate.

Chris Schofield, Radio plugger, Liberty Music PR

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BBC Radio Merseyside and BBC Introducing Liverpool: A Practical Guide

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