Amazing Radio Pitch Templates for Artists | TAP
Amazing Radio pitch templates
By TAP Editorial Team
Quick answer
An Amazing Radio pitch is short and it ends with a link to your track on the station, because Amazing Radio will not take an email attachment. Name the show you are writing about, name a record that show played recently, say what yours is in one line, and stop. The templates below cover the profile bio, the first message, the follow-up and what to send once you have been played.
The pitch that works for Amazing Radio is shorter than most artists expect and does less. It does not sell the record, because the record is already on the station and the presenter can play it in ten seconds. What it does is answer one question: why this show. Everything below is written to be sent by you, in your own name, with your own address on it, which is an advantage rather than a compromise. A presenter who plays a track wants to know whose record it is, and if that person is also the one who wrote to them, the conversation has somewhere to go. Fill the brackets in properly. A template sent with the brackets showing is worse than no message at all.
Your Amazing Radio profile bio
The text on your own artist page. A presenter deciding whether to play the track will look at this page, so it is doing more work than any email you send.
[Artist name] is a [genre] artist from [town or city]. [One sentence on what the music actually sounds like, in plain words, not adjectives.] '[Track title]' came out on [date]. [One sentence on what this particular record is about or what changed in the making of it.] [If true and checkable: previous radio support, a release on a named label, a festival you played. One line, no more.] [Website or main link.]
Under 150 words. Lead with the sound, not the story of how you started playing guitar. Use the genre words the station itself uses, because that is how your track gets grouped. Only include a credit you could produce evidence for if asked. Anything vague reads as padding and padding is what a presenter skims past.
First message to a presenter about one show
You have listened to a show, you know your record belongs on it, and you want to say so. This is the whole message.
Hi [presenter's name], I heard you play [track] by [artist] on [show name] a couple of weeks back, which is what made me think of you for this. I'm [artist name], from [town]. My track '[title]' is up on Amazing Radio here: [link to your track on the station]. It's [one line: what it sounds like and why it sits alongside what you play]. That's it. No pressure either way, and thanks for the show. [Your name]
The first line is the whole pitch. If you cannot fill it in with something specific they played, do not send the message: go and listen until you can. Keep the link to your Amazing Radio profile rather than a private stream, because the station works from music that is already on it. No attachments, no press pack, no artwork unless asked.
Follow-up, two weeks later, with news
A fortnight has gone by with no reply and something has actually happened since. If nothing has happened, skip this one.
Hi [presenter's name], Quick note on '[title]', which I sent over on [date]. No need to reply. Since then it's [the new thing: played on another named station, added to a named playlist, a live date booked, a review]. Thought it was worth flagging in case the timing works better now. Link again if it's useful: [link] Thanks, [Your name]
One follow-up, not two. The new development is what earns the message; without it you are just asking again in more words. Say 'no need to reply' and mean it. If a second fortnight passes, let it go and come back in a few months with a different record.
Submitting one track from an album or EP
The single is part of something bigger and you want the presenter to know that without the email becoming about the album.
Hi [presenter's name], '[Track title]' is the [first / second / closing] track from [album or EP title], out [date]. On Amazing Radio here: [link]. It's the one I'd want played, because [one sentence on why this track and not another one from the record]. The rest of the record is [one line on the whole thing] if it's of any use, but that track stands on its own. [Your name]
Pick the track for them. An artist who says 'anything off it' is asking a busy person to do the choosing, and the answer to that is usually nothing. Keep the album context to two lines. Producers, studios and collaborators go in the profile bio, not here, unless the name would mean something to that show's audience.
Approaching Amazing Radio USA separately
You have a reason for your record to be heard in America. Amazing Radio USA is a separate station at amazingradio.us and this is a separate piece of work.
Hi [presenter's name], I'm [artist name], from [town, UK]. I've been listening to [US show name] and [specific track or moment you heard]. My track '[title]' is up on Amazing Radio here: [link]. [One line on why it has a reason to be heard over there: a tour, a collaborator, a scene it belongs to, listeners you already have there.] Thanks for the show, [Your name]
Do not send this on the same day as the UK message and do not send the same words. The two stations have their own output and their own presenters. If the only reason you can give for the American approach is that you would like more plays, that is not a reason, and the message will read exactly like what it is.
Telling other people you were played
The play has happened and been confirmed. This is what you send to a blog, a local paper, or a station that has supported you before.
Hi [name], '[Track title]' by [artist name] went out on Amazing Radio on [date], on [show name]. [One line on what the track is.] You covered [specific thing they wrote about or played] last year, which is why I thought of you. Listen here: [link]. Happy to send artwork or answer anything. [Your name]
Send this only after you have confirmed the play at amazingradio.com/aired and taken a screenshot. Radio support from a named station on a named date is a fact somebody can check, which is exactly why it carries weight. Do not stretch it: one play is one play, and calling it 'in rotation' when it is not is the kind of thing people remember.
Coming back months later with something new
A presenter passed, or never replied, and you now have a better record. Six months or more has gone by.
Hi [presenter's name], I sent you something back in [month] which didn't land, no problem at all. New one: '[title]', up here [link]. [One line on what is different about it.] Still [show name]'s kind of thing I think, and I've kept listening since. [If they replied last time: thanks again for coming back to me then, it was useful.] [Your name]
Never resend the same track. A presenter who heard it once has heard it. Acknowledging the earlier pass in one clause and moving on reads as somebody who has been working, which is the impression you want. If they gave you a reason last time, show that you did something with it rather than quoting it back at them.
When you cannot find a route to the presenter
The show is right but there is no obvious address, so you go through the station instead.
Hi, I'm [artist name], from [town]. My track '[title]' is up on Amazing Radio here: [link]. I've been listening to [show name] and it feels like where this belongs, because [specific track or moment]. If it's worth passing on to [presenter's name], that would be good of you. Thanks, [Your name]
The station's contact page at amazingradio.com/contact carries the current route to the music team, and that is the right door rather than hunting down a personal address. Keep it to the same shape: one show, one reason, one link. A message to a general address that names a specific show still reads as somebody who listened.
Frequently asked questions
Do I email a presenter or just upload and wait?
Upload first, because the station plays music that is on it and no message works without a link. Then write, once, to the presenter of the one show you have actually listened to. The upload gets you into the pool; the message is what gives somebody a reason to pull you out of it. Doing only one of the two is why most artists hear nothing.
How long before I follow up?
Two weeks, and only if something new has happened since. Another station, a playlist add, a live date, a review. Without one of those you are sending the same message again in different words. One follow-up is reasonable. A second is not, and it is remembered.
Can I send the same pitch to the UK and US stations?
No. They are separate stations with separate presenters and separate output, and the American one is at amazingradio.us. Send them on different days, with different words, and only approach the US one if you can name a reason your record belongs there. A forwarded copy of the UK message is obvious from the first line.
What is worth mentioning in a pitch and what is not?
Worth mentioning: support from another named station, a placement on a named playlist, a festival you are booked for, a label. Not worth mentioning: stream counts, follower counts, how long you spent on the record, or a comparison to a famous artist. Everything you claim should be something a presenter could check in thirty seconds, because occasionally one will.
Should I say I have pitched other stations too?
No, and there is no need. Everybody assumes you have. Naming other stations you are waiting on reads as pressure you have not earned, and comparing yourself to other artists on the schedule reads worse. Keep the message about why your record fits that show, which is the only thing you can say that nobody else can.
From the field
Proof points
- Named contact reply rate vs studio@: 5x higher (Liberty Music PR campaign data, 2024-2026)
- Best UK send window: Tue/Wed 09:00-10:00 UK (Across 60+ campaigns)
- Optimal follow-up cadence: +7 days from initial pitch (Liberty internal data)
- Reply visibility blind spot: Stations add to rotation without replying (WARM monitoring vs email reply rate)
What actually happened
Roam Belle: 96 plays across UK regional and community stations. Named-contact approach, declining curve in week 5. (Spring 2025)
Amazing Radio is the most plugger-friendly station I have worked with. They reply, they tell you why, and they give independent acts space the BBC won't. The trade-off is reach. I treat Amazing as the early-stage validation step, the place where the campaign learns the pitch before it goes to bigger stations. That sequencing matters more than people think.
Chris Schofield, Radio plugger, Liberty Music PR
Related resources
Further reading
- TAP Blog — In-depth guides, comparisons and advice for independent artists running their own promotion.
- UK Music — The voice of the UK music industry, representing labels, publishers, and collecting societies.
- Music Week — Industry news, charts, and analysis for music professionals.
- The Music Network — Global music business intelligence and networking.
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