Who Should You Send Your EPK To? A Practical Guide for Musicians

By Joseph Cheek · Published 12 October 2026 · Updated 12 October 2026

Who should you send your EPK to?

Send your electronic press kit to relevant music journalists, radio presenters, venue bookers, festival programmers, suitable playlist curators and potential industry partners. Prioritise the people who work with your kind of music and can consider the specific opportunity you’re pitching.

Before adding someone to your list, finish this sentence: “I’m contacting this person because…”

“I’d love more exposure” describes your goal. “This presenter regularly plays intimate electronic music, and my new single fits that programme” explains the connection. That connection should guide both your choice of recipient and your email.

Music journalists, blogs and publications

Approach writers and editors who cover artists at a similar stage, releases in your musical world or stories connected to your work.

Read their recent articles. Do they publish reviews, interviews, premieres, local music news or longer features? A pitch for an interview should give them a reason to explore your story. A release review pitch should make the music and release details immediately useful.

Look for a genuine angle: the experience behind the songs, a distinctive recording process, a collaboration or a connection to the publication’s community. Be specific about what makes this release interesting.

For release coverage, send a Release EPK with listening access, release information, artwork, usable press photos and, where possible, a full press release. Your pitch introduces the story; the kit gives the writer material to work with.

Radio presenters and music teams

Look for programmes that already play music with a connection to yours. Genre, mood, location and the show’s interest in emerging artists can all help you judge the fit.

Listen to an episode or check a recent playlist. Then read the station’s submission instructions. Some stations accept direct enquiries; others use a central music inbox or upload system. Follow that process even when you’ve identified a particular show.

For example, Radio Adelaide’s submission guide asks artists to identify relevant programmes and highlight focus tracks. Triple j’s official airplay guidance describes both Unearthed uploads and direct submissions through its contact form. These are Australian examples, but the approach applies wherever you’re pitching: find the fit, then use the outlet’s preferred route.

Make the priority track clear. Include the release date and any relevant local connection, and supply the audio format the station requests. A listening link helps someone assess the song; a downloadable broadcast file may also be needed.

Venue bookers and promoters

Send your EPK to the person or team responsible for programming suitable shows. Depending on the venue, that may be an in-house booker, an external promoter or an artist’s representative organising a support slot.

Look at recent lineups, room sizes and the kinds of nights they programme. Where could your act fit? An emerging artist might begin with local bills, compatible support opportunities or a smaller room suited to their current audience.

Your email should explain the proposed show, date or availability and why you suit the bill. Your EPK should help the booker hear your music and understand the live act you’re offering.

Include representative performance footage and relevant live experience where you have it. Describe your lineup and audience honestly, especially if you’re proposing a headline show.

Festival programmers

Approach festivals whose programming, location and opportunities suit your act, and check whether artist applications are open.

Use the official application process when one exists. Complete the requested fields and provide the required files, even if the same information appears in your EPK. The kit supports the application.

Choose material that represents the performance you can deliver. If you play as both a solo artist and a full band, make it clear which version you’re offering. Follow the festival’s instructions about technical information and supporting documents.

Our EPK guide for bands goes further into preparing material for gigs and festivals.

Independent playlist curators

A suitable independent curator may be worth approaching if they publish a submission route and regularly feature music like yours.

Listen to the playlist before pitching. Does your song belong alongside the tracks they choose? Give them the relevant track link and a brief reason for the fit, with your EPK available for further background.

Platform editorial playlists can have their own process. For Spotify’s editorial team, use the pitching tool in Spotify for Artists. An EPK email does not replace that submission.

Be cautious about guaranteed placements or streams. Spotify states that services selling guaranteed playlist placement or streams violate its terms.

Booking agents, managers and record labels

An EPK can support an introduction to a potential representative or label when there’s a clear reason to work together.

Research their roster and the work they do. Explain why the relationship makes sense and what you’re seeking: help developing a live business, management for a growing project or consideration of a particular release.

Support the introduction with genuine progress, such as relevant shows, audience development, releases or a clear plan. Emerging artists can describe the project’s direction and strongest work without needing an impressive list of achievements.

Check whether they accept unsolicited material. If they have a submissions policy, follow it.

Relevant podcasts and community media

A local arts programme, specialist podcast or community publication may offer a useful conversation with listeners who could connect with your music.

Consider the subject of the programme as well as its audience. Your songwriting, cultural background, creative process or involvement in a local scene might provide a relevant interview angle.

Send a concise introduction, suggest the topic you could discuss and link to an EPK that helps the host prepare.

How to find the right music industry contacts

Start by looking at where comparable artists are being heard, covered and booked. Choose artists whose sound, location or career stage offers a useful reference.

Try this research exercise:

1. Choose three relevant artists. Look at their recent coverage, radio appearances and shows.
2. Note the outlets and people involved. Identify writers, programmes, promoters and festivals that could suit your project.
3. Check their current work. Read, listen or look through recent programming to confirm the connection.
4. Find the official submission route. Use the outlet’s website, staff page, programme page or published professional contact details.
5. Write down why you fit. If that sentence is difficult to write, reconsider the contact.

Useful searches might include “[your genre] music submissions”, “[your city] live music booking” or the name of a comparable artist alongside “interview” or “radio”. Treat search results as leads to verify.

Build a simple contact sheet with the outlet, relevant person or programme, submission link, reason for the fit, deadline, date contacted and response.

As a first exercise, aim for ten well-researched contacts. That’s a manageable starting list, not a rule about how many people a campaign should reach. You should understand why each person is on it.

Which type of EPK should you send?

Send the kit that makes the recipient’s decision easiest.

You can also adapt a general artist press kit to the enquiry. The important thing is that the recipient can quickly find the material that matters.

For example, a journalist considering your single should be able to identify that release without working through your whole catalogue. A booker should be able to see what your performance offers.

If you’re still preparing the content, use our EPK template for musicians. For help bringing it together, follow the guide to making an EPK.

How to write an email with your EPK

Write a short, personal email that explains who you are, why you’re contacting this person and what you’d like them to consider. Include a clearly labelled EPK link and make sure the priority song is easy to find inside it.

A useful pitch gives the reader four things:

• A clear subject: artist name, purpose and a relevant release or show date.
• A reason for the connection: something specific about their coverage, programme or bookings.
• A concise introduction: your sound and the story or opportunity you’re presenting.
• One clear request: consideration for airplay, coverage, an interview or a booking.

Here’s a structure for a release pitch. Replace the prompts with your own details and use it only where direct email submissions are welcome.

Subject: [Artist name] | [Single title] | [Release date]

Hi [Name],

I’m [name], a [brief description of your music] artist from [location]. I’m getting in touch because [specific connection to their programme or coverage].

My new single, [title], is out on [date]. [One or two sentences explaining its sound and the story that makes this release interesting.]

Would you consider it for [one relevant opportunity]?

Release EPK: [link to your bio, release details, press release, music and supporting assets]

[Any necessary advance-access or embargo instructions.]

Thanks for your time,

[Name and contact details]

For a booking pitch, replace the release story with the proposed show, availability and reason your act suits the bill. Link to relevant live footage.

Use clear links and keep large files out of the email unless requested. If the submission instructions require attachments or an upload form, follow those instructions.

When should you send your EPK?

Send your EPK early enough for the recipient to consider the opportunity, using their submission deadlines and lead times as your guide.

Plan backwards from the release, show or application deadline. A publication preparing a feature needs time to listen, make a decision and develop the piece. A festival may programme long before the event takes place.

Prepare the kit before pitching, and allow time to supply extra information if someone responds. If you’re offering advance listening, clearly state the release date and what is available now.

There’s no universal best day or hour to send every music pitch. A relevant enquiry through the correct channel, with enough time to act on it, is a better foundation than trying to guess a magic inbox window.

Sharing unreleased music and private material

An EPK does not always need to be publicly linked from your website. A general artist introduction may be suitable for public access, while a pre-release kit may be intended for selected media contacts.

Share unreleased material deliberately. Check the listening and download permissions, provide any required access instructions and test the experience outside your own account.

A link that isn’t publicly advertised can still be forwarded. If the material needs restricted access, use appropriate access controls for the files or listening service you choose.

An embargo asks the recipient to hold publication until a stated date and time; it does not secure the audio. If timing matters, make the request clear, include the time zone and seek agreement before relying on it.

Should you follow up after sending your EPK?

A brief, relevant follow-up can be useful when the recipient’s guidelines allow it.

Follow any stated response window first. Where no guidance is given, waiting around one to two weeks can be a reasonable starting point, adjusted for the campaign’s timing. Keep the message short and reply in the same email thread.

Restate the opportunity, keep the music and EPK links handy and include a meaningful update if there is one. Avoid repeatedly asking whether they’ve listened.

If you still hear nothing, move on to other suitable contacts. Silence can reflect timing, workload or editorial fit. It gives you limited information about the quality of your music.

When someone responds, make the next step easy. Send the requested file, confirm availability or answer the question promptly. Keep a note of the interaction so your next introduction can build on it.

Your checklist before pressing send

Before sending your EPK, check:

• Is this person or outlet a genuine fit for the music and opportunity?
• Am I using the current submission route and following its instructions?
• Does my email give a specific reason for contacting them?
• Have I made one clear request?
• Does the EPK focus on the relevant release, artist introduction or live act?
• Can the recipient open the music and access the files they need?
• Are dates, credits, contact details and any private-access instructions correct?
• Have I recorded the enquiry so I can follow up appropriately?

Start with a small group of strong matches. Use what you learn from their requirements and responses to improve the next round of pitches.

Prepare a professional EPK with Artist EPK

A thoughtful pitch gives someone a reason to explore your music. A professional EPK helps them take that next step.

Artist EPK brings your bio, music, photos, video and supporting material together in a polished press kit you can build in minutes once your content is ready. Choose a curated layout and share one clear link when you approach media or industry contacts.

Start with an Artist EPK for your general introduction. Release and Live Performance EPKs are available on eligible paid plans when you want a more focused kit for a campaign or booking enquiry.

Prepare the material, choose contacts who make sense for your music and give each one a useful introduction.