Music Press Pitch Template Library Templates
Music Press Pitch Template Library
A working collection of press pitch templates calibrated for real editorial timelines and journalist preferences. These templates are structured to cut through inbox noise, respect publication deadlines, and give journalists what they actually need to make coverage decisions fast.
Cold Pitch: New Release Announcement
Initial outreach for a new single, EP, or album to a journalist you haven't pitched before. Best sent 4–6 weeks before release for print, 2–3 weeks for online publications.
Subject: [ARTIST NAME] – [RELEASE TITLE] – [RELEASE DATE] [JOURNALIST NAME], [ARTIST NAME] releases [RELEASE TITLE] on [DATE]. [GENRE] artist based in [LOCATION], [ARTIST NAME] moves through [2–3 SENTENCE DESCRIPTION OF SOUND/THEMES]. [RELEASE TITLE] includes [NUMBER] tracks and features [COLLABORATORS/NOTABLE PRODUCTION CREDITS if relevant]. They've previously been covered by [PUBLICATION], [PUBLICATION], and [PUBLICATION]. We can provide: high-res artwork, stems, artist bio, and early streaming access if useful. Would this work for [PUBLICATION]? Best, [YOUR NAME] [TITLE] [CONTACT]
Keep subject line scannable—include artist name and release title. The second paragraph should be fact-only: no adjectives like 'stunning' or 'revolutionary'. If the artist has existing press, include it—signals they've already proven interesting to editors. Never attach full press kits; offer to send on request. Personalise the closing question to match the publication's coverage style (e.g., 'Would this suit a feature?' vs. 'Worth a news brief?').
Cold Pitch: Interview Opportunity
Pitching an interview when the journalist hasn't covered the artist before. Typically 3–4 weeks lead time for print, 1–2 weeks for digital.
Subject: Interview: [ARTIST NAME] on [HOOK/ANGLE] [JOURNALIST NAME], [ARTIST NAME] is available for interview ahead of [RELEASE/TOUR/EVENT DATE]. They're in a position to talk about: [SPECIFIC ANGLE 1], [SPECIFIC ANGLE 2], [SPECIFIC ANGLE 3]. [ARTIST NAME] has [RELEVANT CREDENTIAL/RECENT NEWS: e.g., 'just completed a sold-out UK tour', 'produced for [ARTIST]', 'won [AWARD]']. Availability: [DATE RANGE]. Interview length: [APPROX DURATION]. Format: [IN-PERSON/PHONE/VIDEO]. Interested? Best, [YOUR NAME] [TITLE] [CONTACT]
Lead with angle, not just 'available for interview'. Journalists decide based on story potential, not access. Offer 3–4 specific talking points so the journalist can immediately picture how they'd use the interview. Provide concrete dates and format; vague availability signals disorganisation. If the artist has done interviews before, mention the publication or format (e.g., 'previously interviewed by Clash').
Cold Pitch: Review Request (Album/Single)
Pitching a review for a new release. Most publications have strict review lead times—check their guidelines first. Print typically requires 6–8 weeks; digital, 2–3 weeks.
Subject: Review: [ARTIST NAME] – [RELEASE TITLE] [JOURNALIST NAME], We have [ARTIST NAME]'s [RELEASE TITLE] available for review ahead of the [DATE] release. Genre: [GENRE]. Runtime: [MINUTES]. Label: [LABEL]. Release notes: [1–2 SENTENCES ON CONTEXT—e.g., 'third album', 'first release since [TOUR/COLLABORATION]', 'recorded with [PRODUCER]']. Similar artists: [3–4 ARTISTS]. Previous coverage: [PUBLICATION] reviewed [PREVIOUS RELEASE]. Access: [STREAMING LINK/PASSWORD] or physical copy by post. Let me know if [PUBLICATION] wants to cover this. Best, [YOUR NAME] [TITLE] [CONTACT]
Check whether the publication accepts unsolicited review submissions—many have closed review doors. If it's open, lead with release date and genre so the editor can quickly scan against their calendar. 'Similar artists' helps a busy editor picture who should review it. Include previous coverage to anchor credibility. Never assume access—always ask how they prefer to receive music (some publications have strict streaming-only policies). Keep the pitch to one paragraph if possible.
Exclusive/First Listen Pitch
When you're offering exclusive first access to music or content. These carry weight with journalists—use them strategically and sparingly.
Subject: EXCLUSIVE: [ARTIST NAME] – [RELEASE TITLE] – First Listen [JOURNALIST NAME], [ARTIST NAME]'s [RELEASE TITLE] is available as an exclusive first listen to [PUBLICATION] until [DATE/TIME]. We're offering this to [PUBLICATION] because [BRIEF REASON: e.g., 'of your coverage of [GENRE/PREVIOUS ARTIST]', 'you've championed [ARTIST] since [YEAR]']. Access details: [LINK/PASSWORD]. Embargoed until [DATE/TIME]. If you want to cover this, let me know and we can discuss angle and format. Best, [YOUR NAME] [TITLE] [CONTACT]
Exclusives are currency—only offer them if you genuinely have limited slots or early access. Be specific about embargo times (e.g., '10am Thursday' not 'Friday'). Explain why you chose this publication; a journalist is more likely to commit if they feel hand-picked. State clearly whether the exclusive is time-limited or publication-limited. Follow up 48 hours before embargo lifts if you haven't heard back.
Event/Gig Announcement Pitch
Promoting a live show, festival appearance, or special event. Lead time varies: 4–6 weeks for features, 1–2 weeks for listings/news briefs.
Subject: [ARTIST NAME] – [VENUE/FESTIVAL] – [DATE] [JOURNALIST NAME], [ARTIST NAME] plays [VENUE] on [DATE] / [FESTIVAL] on [DATES]. Context: [ONE SENTENCE on why this show matters—e.g., 'first headline show in London', 'exclusive festival appearance', 'intimate venue before sold-out arena tour']. Ticket info: [LINK]. On sale: [DATE]. If [PUBLICATION] wants to cover this—news brief, feature, or interview—let me know. Best, [YOUR NAME] [TITLE] [CONTACT]
For listings, keep it one paragraph. For potential features, include the 'why it matters' angle—a sold-out headline show is more interesting than another gig announcement. If it's a festival, include the full lineup or standout artists on the bill. Link directly to ticket sales so a journalist can quickly check capacity and demand. Pitch event announcements closer to the date than album pitches; most publications hold live coverage for their listings or news sections, which have shorter lead times.
Follow-Up Pitch (After No Response)
Resurfacing a pitch after 7–10 days of silence. Keep it brief and give the journalist an out without sounding bitter.
Subject: RE: [ARTIST NAME] – [RELEASE TITLE] – Quick Follow-Up [JOURNALIST NAME], Quick follow-up on the [ARTIST NAME] pitch from [DATE]. No pressure if it's not a fit for [PUBLICATION]. If the timing works, we're ready to send access or arrange an interview. Best, [YOUR NAME]
One follow-up is standard; two is pushy. Wait at least a week before following up. Change the subject line slightly so it doesn't look like a duplicate email. Keep it to 3 sentences maximum. If you're offering something time-sensitive (exclusive, early access, tour date), remind them of the deadline. Never ask 'did you see my email?'—assume it got buried. If a journalist doesn't respond twice, move on and try a different angle in 2–3 months.
Relationship-Building Pitch (No Immediate Ask)
Warming up a journalist you want to work with long-term. No hard sell; offer context or a story they might find useful even if it doesn't lead to immediate coverage.
Subject: [ARTIST NAME] Context – [RECENT NEWS/TREND] [JOURNALIST NAME], Saw your piece on [RECENT ARTICLE]. Your take on [SPECIFIC ANGLE] resonated—especially [SPECIFIC QUOTE/OBSERVATION]. [ARTIST NAME] is doing similar work in [GENRE/THEME]. They [SPECIFIC RECENT ACTION: e.g., 'just released a remix of [ARTIST]', 'collaborated with [PRODUCER]', 'won [AWARD]']. Worth keeping an eye on as [GENRE] evolves. Happy to send links or brief background if useful. Best, [YOUR NAME] [TITLE] [CONTACT]
This works best when you've actually read the journalist's recent work. Reference a specific piece and a specific observation—generic praise reads as insincere. Don't oversell; you're planting a seed. The artist mention should feel relevant to their coverage, not random. These pitches often lead to the journalist coming back to you months later with their own story idea. Keep a note of which journalists you've warmed up and follow their work—they're more likely to respond to direct pitches later.
Re-Pitch: New Angle on Previous Release
A release has been out a few weeks with limited coverage. A new story angle (tour announcement, remix, sync placement, award nomination) gives you reason to circle back to journalists who passed the first time.
Subject: [ARTIST NAME] – [NEW ANGLE: e.g., 'Announces UK Tour', 'Featured in Netflix Doc', 'Remixed by [ARTIST]'] [JOURNALIST NAME], [ARTIST NAME]'s [RELEASE TITLE] now has [NEW DEVELOPMENT]. We thought this might interest [PUBLICATION]. [NEW ANGLE DETAILS in 2–3 sentences]. Tour dates: [LINK]. / Remix released: [DATE]. / Featured in: [CONTEXT]. Worth covering? Best, [YOUR NAME] [TITLE] [CONTACT]
Only re-pitch if there's genuinely new news—a tour announcement, festival booking, remix, sync placement, or award nomination. Not a new photo or remaster. This is a legitimate second chance at journalists who turned down the original pitch. Reference the original release briefly (no need to recap the whole thing) and jump straight to what's new. If the artist lands a major feature elsewhere, that's also new news worth re-pitching—'now covered by [MAJOR PUBLICATION]' signals growing momentum.
Personalised Pitch to Music Editor/Section Lead
Reaching out to editors who decide coverage across a section (e.g., Reviews Editor, Features Editor, News Editor). Slightly more formal than journalist pitches.
Subject: New Music Submission – [GENRE/SECTION] Dear [EDITOR TITLE], We have [ARTIST NAME]'s [RELEASE TITLE] ([RELEASE DATE]) available for consideration in [SECTION: e.g., 'the reviews section', 'feature opportunities']. [GENRE]. [LABEL]. Artist background: [2–3 SENTENCES]. Previous coverage: [PUBLICATION], [PUBLICATION]. We can provide streaming access, artwork, interview availability, or additional context as needed. Best, [YOUR NAME] [TITLE] [CONTACT]
Editors receive high-volume submissions. Keep format clean and scannable. Lead with genre and release date so they can immediately place it in their workflow. Formal tone works better here than chummy familiarity. Offer a clear range of materials (streaming, interview, artwork) so they can request what's useful. If the publication has submission guidelines, follow them exactly. Editors often forward strong pitches to the right section reviewer, so a well-formatted, fact-focused pitch has a better chance than a creative one.
Correction/Clarification Follow-Up
After a publication has covered the artist, but with errors or incomplete information. Rare, but important to handle professionally.
Subject: Small Correction – [ARTICLE TITLE] [JOURNALIST NAME], Great piece on [ARTIST NAME]—thanks for the coverage. Quick note: the release date is [CORRECT DATE] not [INCORRECT DATE]. / [ARTIST NAME]'s name is spelled [CORRECT SPELLING]. / The collaboration is with [CORRECT ARTIST] not [INCORRECT ARTIST]. No worries if it's already live, but wanted to flag it in case you have another run or if it's useful for future reference. Best, [YOUR NAME]
Only send this if the error is genuinely material (date, name spelling, fact). Resist the urge to correct trivial things or subjective language—it reads as difficult. Keep tone light and appreciative of the coverage; you're solving a problem, not criticising. Assume the error wasn't intentional. If the error is very public (release date wrong, major artist name misspelled), it's worth flagging. If it's small and the article is old, let it go. Journalists appreciate professionals who catch errors politely and without ego—it builds relationship for future pitches.
Frequently asked questions
How much lead time should I allow before pitching a release?
Print publications typically need 6–8 weeks for features, 4–6 weeks for reviews, and 2–3 weeks for news briefs. Online publications move faster: 2–3 weeks for features, 2 weeks for reviews, and 3–5 days for news coverage. Always check a publication's stated guidelines first—many websites list submission windows. If you're pitching to both print and online simultaneously, use the longer timeline and let online publications know they can publish earlier if they choose.
Should I personalise every pitch or use a template?
Use templates as a structure, but personalise the core details every time: journalist name, publication, release title, and date. Reference a recent piece they've written if possible—even one sentence ('Saw your piece on [TOPIC]—this feels relevant') significantly increases response rates. Generic pitches to multiple journalists usually get deleted. The balance is efficiency without laziness: 30 seconds of personalisation per pitch makes a measurable difference.
How do I find the right journalist at a publication?
Check the masthead (usually on the publication's website), read recent articles in that genre, and identify who covers artists similar to yours. If a publication doesn't list writers, search for bylines in articles on that site, or check the publication's social media to see which journalists are active. LinkedIn also works. If you can't find a match, pitch to the Music Editor or submit via their general submissions email. Never assume a generic 'Music PR' email is monitored; named journalists get higher response rates.
When should I attach a press kit versus offering to send it?
Never attach unsolicited press kits to initial pitches—they get marked as spam or sent straight to trash. Keep the pitch email clean and brief, then offer to send links (preferred: Dropbox, Google Drive, or a password-protected download page) or physical materials on request. Many journalists now work digital-only, so ask their preference. High-res artwork and a one-page bio are usually all they need anyway.
What's the right length for a press pitch?
Aim for 75–150 words for initial outreach. One clear paragraph is best—scannable in 30 seconds. Journalists receive 50+ pitches daily; the longer your email, the lower your chance of a response. That said, don't be so terse you leave out key info (artist name, release date, genre). If you need space, it's usually because you're overselling; cut adjectives and stick to facts.
Should I pitch exclusives to multiple publications?
No. An exclusive is exclusive—it goes to one publication, and you hold it. If you're offering it, be clear about embargo time (e.g., 'available exclusively until 10am Thursday'). Once that window closes, you can pitch the same music to others as a general release. Offering the same 'exclusive' to multiple outlets destroys credibility; journalists will find out, and you'll burn bridges. If you have limited early access, choose one publication strategically and offer others a different angle or a later window.
How many times should I follow up on a pitch?
One follow-up after 7–10 days is standard and professional. A second follow-up after another 10 days is acceptable if there's new information (tour date, award nomination) or an approaching deadline. Three follow-ups reads as harassment. If someone doesn't respond twice, they're not interested—move on. You can circle back in 2–3 months with a new angle or story, but constant pestering damages relationships. Most successful PR is about reading the room and respecting journalists' time.
What's the best subject line for a pitch?
Include artist name, release title, and release date (or the main news hook). Examples: '[ARTIST NAME] – [RELEASE TITLE] – [DATE]' or '[ARTIST NAME] – Interview Opportunity'. Avoid clickbait, ALL CAPS, or emojis. A clear subject line is scanned in 1 second—it needs to signal exactly what you're offering. 'New Music' or 'PR Pitch' is too vague. Journalists filter by subject line; make it specific and searchable so they can find your email later if they need it.
Should I pitch via email or use a press release distribution service?
Email directly to a named journalist is more effective than bulk distribution services—response rates are higher, and relationships matter. Use distribution services (like Pitchbox or a standard email to a publication's submissions address) only if you can't find a named contact. Direct email to the right person almost always outperforms automated mass sends. However, for very broad reach (announcing a tour across multiple regions), a combination approach works: direct email to key contacts + distribution service for broader reach.
How do I track which publications have covered which artists?
Use a simple spreadsheet: columns for artist, publication, date of coverage, link, and journalist name. Update it after every pitch (whether it resulted in coverage or not). Alternatively, use free tools like Google Alerts (set up per artist to catch coverage automatically) or monitor journalists' bylines manually. A CRM tool like HubSpot (free tier) can also track outreach, but for most PRs, a well-organised spreadsheet is faster and less overcomplicated. The goal is to know at a glance which publications you've already approached, so you avoid duplicate pitches and can reference previous coverage in new pitches.
What publications accept unsolicited pitches, and which require relationships?
Most online publications (blogs, digital music magazines) accept unsolicited pitches to a general music email or named section editor. Major print publications (The Guardian, NME, Uncut) typically require either existing relationships or submission to a formal reviews editor/submissions address. Check each publication's website for submission guidelines—many state this directly. If no guidelines exist, assume you need a relationship or a strong story angle. Smaller publications are more open to cold pitches, but even major outlets will respond to well-targeted, personalised outreach about genuinely good music.
Is it better to pitch the same artist to multiple journalists at one publication?
No. Research the right journalist (genre fit, recent coverage) and send one pitch to them. If they don't respond and you have a new angle, try a different journalist at that publication. Pitching the same news to multiple people at one publication risks them duplicating work or creates internal confusion about who owns the story. Most publications have workflows where editors assign coverage based on the initial pitch, so a targeted approach is more efficient for everyone.
What should I do if a journalist publishes a piece with errors about the artist?
If the error is material (wrong release date, misspelled name, factual inaccuracy), send a brief, polite correction email. Keep it short, assume the error wasn't intentional, and frame it as helpful. Don't correct tone, opinion, or minor details. Most journalists appreciate professionals who flag errors without ego—it builds goodwill for future pitches. If the error is very public or misleading, a quick phone call might be better than email. Never go public or complain on social media; it burns bridges and damages your reputation in the industry.
Should I include links in my pitch or ask journalists to request them?
Include one or two key links (streaming, artist website, Bandcamp) if they're directly relevant to the pitch. Don't overload with links—it looks spammy. For music access, offer it ('streaming access available, link on request') rather than pasting a long Spotify link; that lets the journalist decide their preference (streaming, download, physical). For press kits or high-res files, definitely say 'available on request' rather than attaching or linking—it keeps the email clean and shows the journalist you're responsive.
What's the worst mistake in a music press pitch?
Sending the same generic template to everyone without personalisation. Journalists can spot a copy-paste pitch instantly, and it tanks your response rate. Second worst: missing the release date, genre, or artist name in the subject line—forces them to open the email to understand what you're pitching. Third: using hype language ('stunning', 'revolutionary', 'unmissable'). Facts beat adjectives. Finally, pitching to the wrong publication or journalist—it signals you didn't research, and it wastes everyone's time. Five minutes of research per pitch increases your success rate dramatically.
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