01
Media relations and tier one placements
Media lists built by genre and by writer, pitches written per journalist, follow up worked by hand. Features, interviews, reviews, and roundups sequenced against your rollout.
The music PR agency that puts your placement targets in writing
We pitch your record to the editors, tastemakers, radio producers, and playlist curators who decide what gets heard, then turn that coverage into search rankings and citations inside AI answers. Outlet tiers, placement counts, and dates are agreed before kickoff, behind a 100% guarantee: you get the agreed results or your money back.
Release planyour name · the record
Pre-saveReleasedmoney back
The stakes
What a quiet release costs an artist
Most artists start looking for a music PR agency about ten days before the single drops, which is roughly two months too late. The record is mixed and mastered. The artwork is done. The distributor has the date locked.
Then release Friday arrives and the only people who hear it are the ones who already followed you. Nothing about that failure announces itself. Editors never reply. The playlist adds do not come, so the algorithm never picks the track up, so the monthly listeners sit exactly where they were. You spend on Meta ads and the streams stop the day the card stops. A booking agent asks what press you ran and you send a link to your own Instagram. Ask ChatGPT for the best new artists in your genre and it names five, none of them you. Six months later the catalog is bigger and the audience is the same size.
The clock and the gatekeepers
What a music PR agency does
A music PR agency earns press, radio, and playlist attention for artists, labels, and managers, so people who have never heard your name meet your music somewhere you did not pay to appear. The daily work is artist positioning and narrative development, media list building, press release and EPK production, media pitching, playlist pitching, radio promotion and DJ servicing, premiere and embargo placement, interviews, single and album reviews, tour press, and reporting.
What makes it different from other PR is the clock and the gatekeepers. Release cycles are set weeks ahead, premieres need lead time, radio needs servicing before the add date, and playlist curators work to a calendar nobody outside the building sees. A publicist who cannot name the writer covering your genre at a specific title is not getting your record into it.
The tracklist
The music PR work we actually run
Every scope starts from the release date already locked, the strongest track on the record, the markets your listeners are actually in, and what you need this campaign to prove.
wk 01 to 12
02
Launch and premiere PR
Embargoes, exclusives, and premiere placement timed to the announce, the pre save window, and release Friday.
03
Playlist pitching and streaming support
Editorial and curator pitching across Spotify, Apple Music, Amazon Music, Deezer, and YouTube, reported as playlist adds, saves, and monthly listener growth rather than screenshots.
04
Radio promotion and DJ servicing
Servicing to specialist shows and stations against the add date, not after it.
05
Tour, festival, and catalog press
Local and regional press built around routing, plus the angles that keep a record alive past week two.
06
Crisis and reputation management
A leaked verse, a lyric taken out of context, a story your team has not seen yet. A plan that exists before the reporter's email does.
07
Digital PR, measurement, and reporting
Earned links pointed at the pages you own, reported as placements against target, outlet tier, referring domains, branded search, and where AI answers now name you.
Full menu at public relations services.
The lineup
The outlets we build your target list around
Most agencies competing for this search show you a logo wall and stop there. We would rather show you the target list before you sign, tiered honestly against where your project sits today.
Tier one music press: Rolling Stone, Billboard, Pitchfork, NME, Spin, Complex, XXL, The Source, Stereogum, NPR Music.
Tastemaker and UK: BBC Radio 1, BBC Radio 1Xtra, BBC 6 Music, Clash, Wonderland, Notion Magazine, GRM Daily.
Consumer and culture: Variety, Mashable, Daily Mail, OK! Magazine, Men's Journal, USA Today Network, Forbes.
A debut single does not open at Pitchfork, and any agency telling you otherwise is selling the meeting rather than the outcome. We usually earn genre blogs, regional press, and tastemaker coverage first, use that as proof, then pitch the tier one feature with something an editor can point to. The agreement names the outlets and the count, because that list is what the refund is measured against.
AI answers
How music PR gets you named inside AI answers
Fans stopped starting at Google. They ask ChatGPT, Perplexity, or Gemini who the best new artists in a genre are, and one answer names four. Fifth place does not exist in that answer, and there is no ad slot to buy your way into it.
Generative engine optimization is an ugly label for a simple mechanism. A model only names what it can check: publications it already crawls, consistent entity signals about you as an artist, and structured data saying what you make and who you are. An interview in a music title a model already reads is the strongest input available, and no link vendor manufactures one. So we run the press and the search side together rather than selling you two retainers that point at each other. See AI SEO and SEO and GEO, and pair this with YouTube SEO if your discovery runs through video.
The rollout
The 90 days around your release
AceIt · rolloutDay 90 / 90
Week one
Week one: the scope goes in writing.
Discovery with you and your manager, a story angle worth a journalist's time, a read on who is getting written about in your lane, and a tiered target media list. Outlet tiers, placement counts, and dates are signed before the first invoice.
Weeks two and three
Weeks two and three: assets and pitches move together.
Bio, press release, and EPK finished, premieres offered, servicing to named writers, radio producers, and curators, and pitching into stories being written that week.
Days 30 to 45
Days 30 to 45: first coverage.
Genre press, regional outlets, and playlist adds usually land first, because those cycles turn fastest and they are what a booking agent checks.
Day 90
Day 90: the tier one push and an honest review.
Feature and interview pitches, tour and festival angles where the routing allows, and a score against the targets you signed rather than the emails we sent.
For a sense of speed, first Forbes opportunities on our own program usually open inside 4 to 8 weeks.
Stages
Genres and stages we run campaigns for
Club · cap. a name
Independent and emerging artists.
You need a name before you need volume. The work is positioning, one story worth telling, genre press and playlist adds a manager can verify, and press assets you can put in front of an agent or an A&R.
Theatre · the priority record
Signed artists, labels, and managers.
Label press teams run thin across a roster, so priority records get the hours and everything else gets a template. We run the campaign the in house team does not have capacity for, and we report against targets rather than clippings.
Arena · the industry side
Festivals, venues, and music companies.
Announcement and lineup press, brand partnerships, and founder or executive positioning for the technology and services side of the industry.
We work across pop, hip hop, R&B, rock, indie, punk, country, Americana, jazz, folk, electronic, and Latin. Genre is not the filter. Whether a writer covering that lane has a reason to care this month is.
Why AceIt
Why hire AceIt as your music PR agency
Ask any music PR agency on your shortlist what happens if the coverage never comes, and watch the answer go soft. That question lands harder in music than almost anywhere else, because a release gets one moment.
You already paid for studio time, mixing, mastering, artwork, and a video. Three months of retainer, a hit report full of reprints on sites nobody reads, and a campaign that ends with no press, no adds, and monthly listeners exactly where they started is not a slow start. It is a record that came and went while somebody with a worse song got the feature.
So the risk lands on us instead. Placement targets, outlet tiers, timelines, and deliverables are agreed before kickoff, and if we do not deliver what we committed to, on the timeline we committed to, you get your money back. We guarantee the work and the agreed deliverables rather than promising that one named editor says yes, because no ethical agency sells you another person's decision. The promise is narrow on purpose. The refund behind it is not.
Three habits that come with the contract. Senior people run your campaign, with no junior account manager learning your genre on your budget. Replies land in 1 to 2 hours, not the week after your release. And PR, SEO, and web sit in one team out of Austin, so the press we earn keeps working in search and in AI answers long after release week.
Receipts
The results we can point at
1M+Brand impressions our PR work took Vezbi, a community super app, past on targeted organic PR as it expanded into the U.S.
50+Placements the Forbes program has secured across 12+ industries
4,200+Visits one anonymized client turned a single feature into, with a 38% rise in branded search and 12 secondary pickups
DA 94Authority of the backlink that same feature earned
Clients have been featured in
Also Daily Mail, OK! Magazine, Men's Journal, Elle, and Glamour.
Our PR work took Vezbi, a community super app, past 1 million brand impressions on targeted organic PR as it expanded into the U.S., the Vezbi case study. The Forbes program has secured 50+ placements across 12+ industries, and one anonymized client turned a single feature into 4,200+ visits, a 38% rise in branded search, a DA 94 backlink, and 12 secondary pickups, more at case studies. Clients have been featured in Variety, Mashable, Daily Mail, OK! Magazine, Men's Journal, Elle, Glamour, USA Today Network, Entrepreneur, and Forbes.
The number
What a music PR agency costs
Almost nobody in this search will tell you, so here is ours. Forbes campaigns are scoped and priced in writing before kickoff. A combined press and search program runs mid five figures to six figures annually against a 12 month roadmap. Project based, retainer, and performance oriented models are all available, scope and price are settled on the strategy call, and the number goes in writing before kickoff. For reference, published music PR rates elsewhere start near $990 for a single guaranteed placement and commonly run a few thousand a month for a boutique campaign, so you can judge where any quote lands. Run your own return numbers before you speak to anyone.
The honest filter
Who we take on, and who we pass on
On the billwe take on
It fits independent artists with a finished record and a release date at least six weeks out, signed artists whose label press team is stretched across a roster, managers running several projects at once, labels, festivals, venues, and music technology companies selling into the industry.
Not on the billwe pass on
It does not fit an artist who wants a named magazine promised by Friday, a manager buying on rate alone, or a release whose only news is that the song came out. We do not buy streams, bots, or playlist slots, and we will not pretend a purchased number is an audience. If the record is not ready, we will say so on the call instead of billing you through two release cycles to reach the same conclusion.
Questions
Asked before every release campaign
Anything else, email [email protected] and it comes back in 1 to 2 hours.
A music PR agency earns press, radio, and playlist attention for artists, labels, and managers. The work covers artist positioning and story development, press release and EPK production, media list building, pitching writers and editors, premiere and exclusive placement, interviews, single and album reviews, playlist pitching, radio promotion and DJ servicing, tour press, and reporting. Success is measured in placements, playlist adds, monthly listeners, and branded search, not clippings.
Published rates in this market start around $990 for a single guaranteed placement and commonly run a few thousand a month for a boutique campaign, though most agencies publish nothing. Ours: Forbes campaigns are scoped and priced in writing before kickoff, and programs combining earned media with search run mid five figures to six figures annually. Project, retainer, and performance oriented models are available, and the price is agreed in writing before kickoff.
Worth it when three things are true: the record is finished, the release date is at least six weeks out, and there is a story beyond the song existing. Press buys you credibility a booking agent, an A&R, and an editor can verify, plus links and citations that keep working long after the ad budget stops. Worth it far less when you are paying a retainer to promote a track with no angle behind it.
Music PR earns third party coverage from writers, stations, and curators you do not pay, which is why it carries credibility with the industry, with search engines, and with AI answer engines. Music marketing is paid reach you control: ads, boosted posts, and promoted video. The two work together. PR supplies the proof, marketing supplies the volume, and only the coverage compounds.
We guarantee the agreed deliverables and back it with money. Outlet tiers, placement targets, dates, and scope go in writing before kickoff, and if we do not deliver what we committed to on that timeline, you get your money back. What no ethical agency can promise is that one specific writer at one specific title says yes on a chosen date. Anyone selling you that is selling somebody else's decision.
Six to eight weeks before the release date, at minimum. Premieres need lead time, radio needs servicing before the add date, and monthly print and long lead features work months ahead. Hiring the week of release limits you to whatever can be pitched in days, which is the thinnest version of the campaign. Bring us the date as soon as the master is locked.
Next step
Get the campaign plan before the release date gets closer
Send us the record and the two artists in your lane who keep getting written about instead of you. Back comes the angles we would build, the writers, stations, and curators we would pitch first, the date we expect your first placement, and the numbers we would sign. Every engagement carries a 100% guarantee: you get the agreed results or your money back.
Every engagement carries a 100% guarantee: you get the agreed results or your money back