The contact list
Ask for recent placements — actual links, dated, in the outlets they claim to reach. A publicist who can't show their last six months of work isn't the publicist for you.
G1Guides · Music PR Budgeting
How to budget music PR in the UK.
A plain-English guide to setting a realistic PR budget as an indie or unsigned artist. Realistic ranges for single pushes, album campaigns, tour runs and festival bursts — and how to read a proposal when it lands in your inbox.
01Reading the numbers
What music PR actually costs in the UK.
Working out what to spend on music PR is one of the more pragmatic questions an artist faces once a release date is in the diary. The honest answer is that UK music PR pricing isn't standardised — every campaign is bespoke, every publicist prices differently, and the network size, experience and shape of campaign all change the number you'll be quoted.
The good news is that the common shapes of campaign each have working ranges, even if the exact number is bespoke. The trick is matching shape to where you are as an artist, not buying the most expensive option as a status symbol.
A focused single press push.
A short, targeted push for one single — typically two to four weeks of outreach to music press, blogs, DSP editorial contacts and a small radio burst — is the most common entry point for indie and unsigned artists. Realistic UK pricing ranges from a few hundred pounds at the light end (DIY-friendly publicists, short runs, single-angle story) to several thousand for an experienced team running a multi-angle campaign with both national press and a BBC-friendly pitch. This shape suits a debut single, an independent release where the artist has built their own audience, or a quick brush-up before a key sync moment.
A full album campaign (press + radio plugging + online).
A full album cycle combines national and regional press, BBC and commercial radio plugging, online features, playlist pitching and social assets — the longest, loudest and most expensive shape. Realistic UK budgets stretch from low-thousand-pound monthly retainers for an experienced independent team running a 2–3 month thrust, to several thousand pounds per month for a heavyweight campaign with sustained national broadcast ambition. Expect a six to twelve week lead-in, an interview and feature window around release week, and a tail of activity afterwards.
Pay attention to whether the quote includes both press and radio plugging as one combined fee, or whether they're billed separately. A combined retainer usually carries better value and avoids two teams stepping on each other's stories.
Tour PR runs and festival PR bursts.
Tour PR is its own craft — every date needs its own regional story. A UK tour campaign typically runs six to ten weeks before the first show and includes tour announcement press, listings pitching, regional features, venue partnerships and pre-show radio pickups in each city. Realistic UK ranges start from a few hundred pounds per date for a small DIY-aware agency with regional reach and rise to several thousand pounds or more for a national headline tour with full BBC Introducing coordination.
Festival PR is the shortest, most reactive shape — usually three to six weeks of activity focused on festival publication coverage, listings sites, hometown press and the relevant BBC Introducing uploader in each festival region. Realistic UK budgets sit in the low-to-mid four figures depending on the festival's reach and how far the artist is travelling.
Retainer vs project pricing.
Retainers (a fixed monthly fee for an ongoing relationship) suit artists releasing regularly and publicists who want long-term brand alignment. Project pricing (a fixed fee for a defined campaign) suits one-off releases, debut campaigns and artists with a tighter budget. Neither is universally better — a retainer on a slow news month is wasted spend, and a project quote on a release that needs to pivot can be inflexible. Picking the right shape is part of the budgeting.
When each is appropriate.
A single push is right for an emerging artist testing the PR waters. A full album campaign is right when the album has a story and the artist has audience momentum. Tour PR is right when dates are locked and regional traction is needed. A festival burst is right when the artist is genuinely playing the festival and can be packaged for regional press. Mixing them is common — many artists run a tour campaign that contains a festival burst, then a single push for the next release while still on the road.
RangesIndicative only
These are working ranges, not averages. Every campaign is bespoke — the publicist's network, your story and the release size all change the number.
02Reading the proposal
How to read a PR proposal.
The cheapest quote is rarely the best value. Four things to check before you sign anything.
Who's doing the work
Senior partners often pitch the proposal and pass the day-to-day to a junior. Find out who'll actually be writing the release and answering the phone when a producer calls.
What's in writing
If success metrics (features, reviews, broadcast pickups) are only verbal, walk away. Reputable publicists put realistic targets and clear deliverables in writing.
FAQMusic PR Budgeting Questions
The questions people always ask.
What's usually included in a UK music PR quote?
The brief, the press release, the asset pack (bio, photo, links, key quotes), outreach to targeted music media — national, regional, online and specialist — interview booking, weekly feedback, and a clear end-of-campaign report. Reputable publicists will tell you exactly what's in scope and what isn't, in writing, before you sign anything.
What isn't usually included?
A few things are commonly left out: paid placements, advertorial, sponsored content, travel for interviews, photographer or videographer fees, social ad spend, gig promotion, and (very often) radio plugging. Radio plugging is a separate discipline with its own pricing — if you want both press and radio, ask whether the quote is combined or split.
How do I evaluate a music PR proposal?
Look at four things: the contact list and recent placements (proof they actually reach the outlets they claim), who's doing the day-to-day work versus who's pitching, what's in writing versus what's promised verbally, and whether success metrics are realistic (features and reviews are realistic, guaranteed BBC Radio 1 A-list is not). If a proposal can't answer those four points clearly, keep shopping.
Want a bespoke quote for your release?
Send us the artist, the release, the date and the budget you've got in mind. We'll come back with a clear proposal and tell you honestly what fits.