How to Pitch Your Music Without Feeling Small
Or: how to get noticed without losing your dignity (or annoying anyone)
So you want to be a rap superstar? Live large? Five cars?
A rock superstar?
A Big Deal?
Or maybe you’re just aiming to make rent performing at coffeehouses, with a little notoriety on the side. Maybe your thing is digeridoo duets over dembow beats, singing your heart out around the world.
Whatever your goals, pitching your music isn’t about begging for attention—it’s about confidently creating connections.
Like I said in the first Signal 73 piece, "How to Pitch 'Smaller' Music Artists Without Feeling Small," most bad pitches come from a good place: hope. But what exactly makes a pitch "bad"? Usually, it comes down to clarity, authenticity, and timing—easy enough to spot, trickier to define.
I’ve navigated these dynamics from nearly every angle—first as a music writer at Complex Media’s DoAndroidsDance (RIP!) and later managing artists, collaborating as a DJ, and consulting with A&Rs, labels, managers, publicists on projects. Trust me, I understand firsthand how vulnerable pitching your own music can feel. It's rarely easy, and almost never super fun.
Being an artist isn’t exactly a walk in the park (though I highly recommend actual walks in parks too). Sometimes this shit is just tough, and you need guidance—we all do.
Signal 73 will be spotlighting music soon, but the principles below apply far beyond any single outlet—including ours.
Here’s a clear, straightforward set of guidelines to help you pitch your music without feeling small, obnoxious, vague, or invisible. And yes—I’ve been all those things, sometimes in the same week.
And candidly, while these principles are focused on music, they apply broadly—to creative work and beyond.
1.“Wait, Why Even Pitch at All?"
With TikTok, Instagram, Discord, and endless direct-to-fan opportunities, you might be wondering: why pitch to anyone else at all?
Here’s why. Music writers and curators are superfans with a platform. Even journalists who dare to write critically do so because they're deeply engaged fans—it usually comes from genuine care and respect. And to be clear, no one's doing it for the big bucks (there aren't any), and backstage ain't exactly what it used to be. And they’re all exactly the sort of people who can help your music find an audience faster—the kind Kevin Kelly famously argued you only need about a thousand of to sustain a creative career. They expand your reach, enhance your credibility, and amplify your voice beyond your immediate network.
It’s important to honestly acknowledge not just why you’re making music, but also what you hope it brings into your life. Wanting recognition, support, or compensation for something you create isn’t shallow or selfish—it’s natural. And that’s exactly where the hope comes in.
Of course, no pitch guarantees coverage—and it’s highly unlikely that a single editorial placement will cover next month’s rent. But thoughtful, intentional pitching can shift the odds in your favor. Good pitches build relationships, foster genuine connections, and open doors you might not even realize are there. In other words, it’s just one piece of the puzzle—but sometimes it's exactly the tipping point you need.
2. Know Who You’re Pitching (and Why)
One of the quickest ways a pitch goes sideways is when it clearly wasn’t meant specifically for the recipient. Everyone has received those copy-paste messages that feel generic, rushed, and ultimately dismissible. Writers, editors, and curators aren’t robots—they notice when something’s not personalized, and it often shapes their entire perception of your pitch.
It doesn’t have to be complicated. Just take a moment to figure out who exactly you're contacting. Have they covered music like yours before? Do they even accept pitches right now? Are you hitting them on the right platform, or ignoring submission guidelines?
As linguist and author Deborah Tannen once said:
“How you say something is often more important than what you say.”
This couldn’t be more true for pitching music. Your initial approach—the clarity, personalization, and authenticity of your message—sets the emotional tone before they even hit play. If your outreach feels thoughtful and intentional, the person receiving your pitch is far more likely to feel motivated to give your music genuine attention.
And look, I’m not saying music writers, editors, or curators deserve special treatment or need to be pampered—but you are asking for their time, attention, and consideration. That’s no small ask. As philosopher Simone Weil once put it:
“Attention is the rarest and purest form of generosity.”
Taking a few minutes to genuinely learn about the person you’re pitching shows you’re willing to give a little attention yourself. It's literally the least you can do—and it can often make all the difference.
3. Keep It Clear, Keep It Human
Once you know exactly who you’re pitching, the next step is to keep your message clear, concise, and above all—human. There’s a real person on the other side. You don’t know what they’re going through or have going on, and you can’t know. So regardless of the music or general pitch you’re sending—genre or otherwise—be mindful of what it might be like for you to be on the other side of that pitch beyond just the quality of what it is your pitching. A pitch isn’t a press release. It’s not a sales script. It’s a genuine, thoughtful message from one person to another. Don’t overcomplicate it, don’t get overly formal, and don’t make it longer than it needs to be. Respect your reader’s time and clarity.
As researcher and author Brené Brown once put it:
“Clarity is kindness.”
Your pitch is an emotional exchange, even if it’s only through email or DM. The person receiving it isn’t a blank slate or anonymous inbox—they’re a real person having a real day. You never know if you’re catching them at a good moment, a bad one, or somewhere in between. That emotional context—what psychologist Timothy Leary famously called set and setting—matters enormously. Writing his book “The Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead,” Leary captured something deeply true about all human interactions:
“The nature of the experience depends almost entirely on set and setting. Set denotes the preparation of the individual, including his personality structure and his mood at the time. Setting is physical—the weather, the room’s atmosphere; social—feelings of persons present towards one another; and cultural—prevailing views as to what is real.”
Your pitch may not trigger a psychedelic journey, but it absolutely triggers a human response. You can’t control everything—and please, don’t stalk me or anyone else online trying to dig up every little detail—but you can set an empathetic, respectful tone that makes your pitch clear, thoughtful, and human.
As Maya Angelou once memorably said:
“People will forget what you said, people will forget what you did, but people will never forget how you made them feel.”
Pitch in a way that leaves a clear, positive emotional impression—even if the answer isn’t an immediate yes.
4. Make Your Music Easy to Hear
If your pitch captures someone’s attention, don’t sabotage yourself by making your music difficult to access. The easier it is for someone to just click play, the better your chances of getting an actual listen. Friction matters—it can be the difference between someone genuinely giving your song a shot or immediately moving on.
Your goal is direct, effortless access. SoundCloud or Bandcamp links are perfect—no paywalls, no logins, no huge attachments or complicated downloads. Every extra step creates friction. Keep it simple, clear, and smooth, because easy access demonstrates respect for your listener’s time and attention.
A Quick Note on Premieres, Exclusives, Promo Copies, and Invites:
If you're aiming for a premiere, exclusive coverage, or any sort of timed release, communicate that upfront and clearly. Editors and curators appreciate knowing the details early—especially lead times. Ideally, provide at least two weeks’ notice (more is even better), clearly specifying your exact release date or desired premiere timeframe.
For promo copies and exclusives: clearly label your links, and ensure they're easily accessible. Password protection is fine, but keep it straightforward—no confusing steps or obscure platforms. And trust the offline experience too: provide downloadable files whenever possible. Sometimes editors or writers won’t have time to listen until they’re offline—on a subway, a plane, or wherever else. You get it, right?
This same logic applies to invites for shows or events. Last-minute invitations rarely land well, especially if you’re hoping for coverage or attendance. Give as much advance notice as possible, clearly indicating details like time, venue, access, and whether guest-list spots or passes are available.
Editors appreciate organized, professional, and intentional approaches—not chaotic, last-minute surprises. Clear preparation and advance planning can significantly boost your odds of getting the coverage or attention you're seeking.
Remember: keeping things straightforward, professional, and thoughtfully structured not only respects editors’ time—it also sets you apart from the many pitches that feel scattered, vague, or rushed.
Make it as easy as possible for someone to say yes.
Or, to put it even more simply—make your pitch feel like this:
5. Design the Listener’s Experience (Not Just Your Pitch)
Beyond practical ease of access, think carefully about the entire experience your pitch creates for whoever receives it. Your music itself matters most—but how you present yourself and your work shapes the emotional response before anyone even clicks play.
Legendary graphic designer Paul Rand—the guy behind iconic logos for IBM, UPS, Enron, ABC, and Steve Jobs’ NeXT (definitely not Rand Paul!)—said it perfectly:
“Design is the silent ambassador of your brand.”
Here, though, “design” doesn’t just mean visuals—it means thoughtfully crafting the entire user experience. Consider everything from your initial email or DM, your clarity and friendliness, down to how easily your music streams. It all matters.
Practically speaking, an Electronic Press Kit (EPK) or a simple one-sheet can go a long way. Even before that, having a straightforward landing page on an easy-to-navigate website, clearly labeled and organized, is incredibly helpful. It’ll streamline your pitch process—and practically every other area of your career.
To show exactly what I mean, here’s a professional, clear example of a simple, one-sheet Electronic Press Kit (EPK) that editors, curators, and writers appreciate:
You don't need something flashy or expensive—just clean, easily accessible information editors or curators can quickly reference: social media links, upcoming shows, relevant background info, press photos, and contact details.
Da Vinci was onto something serious when he (allegedly) famously said:
“Simplicity is the ultimate sophistication.”
In other words: sometimes less is more, and it pays to say less. Keep it clear, keep it simple, keep it thoughtful. Your recipient might not remember every detail, but they'll absolutely remember if your pitch felt smooth and easy—or frustrating and chaotic. And amid countless other pitches, that subtle feeling often makes all the difference.
6. Manage Expectations—And Know What a Team Can (and Can’t) Do
Pitch sent. Now you’re in that weird waiting zone. How you handle it matters almost as much as your initial pitch.
First: give your recipient breathing room. Don’t immediately fire off another message if you don’t hear back within hours or even a couple days. Editors, writers, and curators have busy inboxes—your email might simply be buried. A polite, casual follow-up after about a week is fair and professional. Something simple like:
“Aye Jake! just quickly bumping this—totally understand you're probably slammed, but wanted to check in. Let me know if you think it fits, but if you can’t I get it, no worries and maybe next time.
And please, don’t jump onto their (or my) social media accounts to rapid-like all their posts before or after pitching. It’s not subtle, and frankly, it's not a good look.
If the response is a “yes” (even a small one), show genuine appreciation. Repost the coverage, say thanks, and keep that relationship open for future opportunities. Remember, it’s about genuine connections, not just quick hits of validation.
If it’s silence or a polite "no," don’t spiral or take it personally. Make a note of who you pitched, how it went, and move on. Circle back only when you have something fresh or notably different.
Having a publicist or manager doesn’t fundamentally change these guidelines. Could someone else handling your outreach improve your chances? Sure—sometimes. But don't assume your money’s automatically well spent just because you've hired someone to pitch on your behalf. Often, a thoughtful, personal note directly from you resonates far more than a slick, impersonal email from someone paid to represent you.
That said, I completely understand why having a team—or at least someone credible co-signing your music—can feel crucial. In many cases, it genuinely is. As Khal Davenport, my editor at Complex Media’s DoAndroidsDance (RIP!), routinely said (and I still say today):
“Teamwork makes the dream work.”
He wasn’t the first to say it, obviously, but it remains true—especially here. Ask yourself clearly: Are you crystal-clear on your dream? What's your definition of success for this pitch? How does it fit into your overall strategy—and do you actually have one? Who’s genuinely on your team—and are you really in sync?
I'm not saying you need a complicated rollout (industry jargon for a go-to-market strategy), but having at least a repeatable, principle-guided approach helps—especially if you can adapt along the way. Whether you’re handling outreach yourself or someone else is doing it for you isn’t nearly as important as staying thoughtful, genuine, and measured. That approach boosts your chances of coverage—and preserves your dignity (and everyone else’s sanity too).
7. Remember Why You’re Doing This (Beyond Validation)
Pitching music is awkward, tough, and—let’s be real—can occasionally feel pretty soul-sucking. It's easy to get wrapped up in chasing coverage, streams, followers, and validation. There’s nothing wrong with wanting those things—they matter, and often for good reason.
But whatever your reasons, it helps to stay connected to them, beyond just how many people stream or cover your music. Legendary producer Brian Eno once put it this way:
“Stop thinking about artworks as objects, and start thinking about them as triggers for experiences.”
You could just as easily apply that idea to the tension between music as genuine artistic expression and music as "content"—material made primarily to feed social media algorithms or fill out playlists. This isn't a moral judgment about one approach or the other; it’s about recognizing the difference and being clear about your own intentions.
Generative AI, social media algorithms, and juiced, data-driven playlists are undeniably reshaping how music gets created, shared, and discovered. Again, this isn’t about it being good or bad—just acknowledging it as part of the landscape, whether we like it or not. Maybe you’re actively wrestling with the role of AI in your process, or maybe you’re not. Either way, it's there, shaping attention in ways both obvious and subtle.
But here's the thing: You don’t have to pretend this isn’t complicated. Because creating music—pitching it, promoting it, trying to get people to notice—has never just been about other people's attention, and it's certainly never been easy.
Ultimately, this is about your own attention: how much you’re genuinely willing to offer your work, your craft, and ultimately, yourself. You began this whole process by asking someone else to pay attention—but maybe the person who most needs to notice and genuinely connect with what you’re creating is you.
After all, attention—including your own—is still the rarest and purest form of generosity. Maybe the first place you should offer it is to yourself.