Get Featured in Gigwise

Getting written about in a music publication like Gigwise is difficult for a simple reason: the inbox is full. Good records are missed all the time because the email arrived in the same week as so many others. With a guaranteed placement, the outlet is confirmed first, you approve every word, and the article publishes on gigwise.com inside the window written into your scope, usually one week. It is a real article on the site that you can put in a proposal, a deck or a profile.

What Gigwise covers

Music coverage exists to connect a sound with a story, and Gigwise does that work for readers in the United Kingdom. A publication of this kind writes about artists and their releases, the producers and songwriters in the credits, the DJs shaping what gets played, and the independent labels and managers building careers. It gives listeners the context a streaming page leaves out.

The tone is that of one listener telling another about something good. Music readers have little patience for hype and a lot of interest in craft, so a feature holds attention when it talks about the actual work: the sessions, the sound, the shows, the decisions. Artists, producers, DJs and the companies behind them all belong, as long as there is music to hear and a reason to write now.

Who reads Gigwise

Music readers are active listeners, and that is the audience Gigwise serves in the United Kingdom. They read about an artist with a streaming app open, ready to check whether the music matches the story. Coverage in this category is also a filter for professionals: booking agents, festival programmers, label scouts, sync teams and managers use it to see who is building a real career.

The strength of the feature is its setting. Your name appears in a music publication, read by music people, next to coverage of other releases. For an independent artist, that is a signal of momentum that fans and industry both understand. For a manager, a label or a music-tech company, it is a reference point that supports the next round of pitches.

Coverage that speaks to buyers in the United Kingdom

The British market rewards familiarity. A feature in Gigwise shows readers in the United Kingdom that your business is part of the conversation where they live and work. That is useful when you are selling to customers there, approaching retailers or distributors, or answering the quiet background check that most buyers run before they respond to an offer.

Coverage in the United Kingdom is typically sought by firms in finance, property, law, technology, retail and hospitality, together with founders and advisers who want a stronger profile at home. American and European companies setting up a British subsidiary or looking for local customers are also regular clients.

In music, the release is the news and the artist is the story. A piece built around a new single, project or tour gives readers something to do, and the background gives them a reason to stay. One clear thread works best: a sound, a city, a turning point. With that and music people can hear, a Gigwise reader has what they need.

These are the angles music readers respond to most. You only need one. A single clear hook, backed by music that is out or dated and details that are true, carries the whole feature.

What weakens a pitch

• Unfinished work. Demos, rough mixes and ideas for a project are hard to write about. It is usually better to wait for a finished release.
• Other people’s stories. A piece that leans on who you have opened for or stood beside says little about your own music.
• No sense of place. Music comes from somewhere. Leaving out the city, the scene or the community behind the sound removes the detail readers connect with.
• Vague release plans. “New music soon” gives listeners nothing to do. A title, a date and a place to hear it turn interest into a play.