How to Get Noticed by Amazing Radio Presenters | TAP
Building relationships with Amazing Radio presenters
By TAP Editorial Team
Quick answer
Presenters at Amazing Radio choose from music artists have uploaded to the station, so the upload comes first and everything else follows it. Listen to the shows at amazingradio.com/shows, work out which one your record actually belongs on, and approach that presenter about that show. A short message naming a track they played recently will out-perform any pitch that could have been sent to anybody.
Amazing Radio is one of the few stations where an independent artist can get heard without knowing anybody, because the route in is public: you upload your music to the station and it goes into the pool presenters choose from. That is also why the upload on its own rarely does much. Thousands of tracks sit in that pool. What moves a record out of it is a presenter who has a reason to care about yours, and reasons are built one at a time over months. This is about how to do that as the artist, without a middle-man and without becoming the person whose emails get filed unread.
Start with the upload, because nothing works without it
Amazing Radio does not take tracks as email attachments. Music has to be on the station, uploaded to your own artist profile, and any conversation you have with a presenter or with the music team ends with you sending a link to it. Set up an account at amazingradio.com/connect/signup and get the record on there before you write to anyone. Check what the site currently says about how many tracks a free account covers and what a paid membership adds, because that has changed over the years and the terms on the site are the version that counts. Fill the profile in properly while you are there. A presenter deciding whether to play a track will look at the page it sits on, and a page with no photo, no location and a two-line description tells them you are not really doing this.
Tip: Upload well before your release date, not on it. A track that arrives the morning it comes out has missed every show that was already planned.
Work out which show your record actually belongs on
Amazing Radio runs a schedule of named shows with named presenters, listed at amazingradio.com/shows with this week's times at amazingradio.com/schedule. Show pages carry track listings, so you can see what a presenter has been playing rather than guessing from the show title. Spend an evening on this. Play three or four shows properly, not thirty seconds each, and write down which one played something that sounds like it belongs beside your record. That is the show you approach. Sending the same message to every presenter on the schedule is the fastest way to be recognised as somebody who has not listened, and on a station this size presenters notice. If nothing on the schedule fits, that is a finding too: it means your record is not an Amazing Radio record this time, and your evening is better spent elsewhere.
What to say the first time
Short, specific, and about their show rather than about you. Name the track of theirs you heard and roughly when, say what your record is in one line, and give the link to it on Amazing Radio. That is the whole message. No attachments, no one-sheet, no paragraph about your influences. The reason it works is that it proves you listened, and almost nothing else in a presenter's inbox does. The station's contact page at amazingradio.com/contact carries the current address for the music team if you cannot find a route to the presenter directly, and that is the right place to start rather than hunting for personal addresses.
Tip: If you cannot name something they played, you have not done the listening. Do the listening.
After a play, do the two things most artists skip
First, check that it happened and write it down. Recently played tracks are listed at amazingradio.com/aired and the weekly Amazing Chart is at amazingradio.com/chart, so you can confirm the play yourself rather than waiting to be told. Screenshot it. Second, say thank you once, in public, naming the show. A post crediting the presenter and the programme is worth more to them than a private email, because it puts their show in front of your audience. Then stop. A second thank you, a request to be played again next week, or a message asking what the listeners thought turns a good result into a small nuisance. The next thing you send them should be a new record, months later.
Pace yourself so there is somewhere to go next
One new track every six to eight months, approached this way, builds something. The same track sent four times does not. If a presenter does not reply, that is not a rejection you need to answer; it usually means the record did not fit the week they were putting together. Wait, write something better, and come back with it. What you are building over two or three releases is a presenter who knows your name before they open the message, and that is worth more than any single play. Keep your own note of who you approached, what they played, and when you last wrote. Six months is long enough to forget, and turning up as a stranger to somebody who already played you is an avoidable waste.
The UK and US stations are separate places
There are two Amazing Radio stations: the UK one at amazingradio.com and Amazing Radio USA at amazingradio.us. They share an owner and an approach but they have their own output, and a play on one is not a play on the other. If your record has a reason to be in America, treat the US station as its own piece of work, with its own listening and its own message, rather than forwarding what you sent to the UK. If it has no particular reason, leave it. Two stations approached properly beats four approached carelessly.
Key takeaways
- Amazing Radio presenters play music that has been uploaded to the station, so the upload comes first and the message comes second.
- Pick one show and name something it played. A message that could have gone to any presenter reads like one that did.
- Confirm your own plays at amazingradio.com/aired rather than waiting to be told, and screenshot the chart page the week you appear.
- Thank a presenter once, in public, naming the show. Then leave them alone until you have a new record.
- One approach every six to eight months with new material builds a name. The same track resent does the opposite.
- The UK station and Amazing Radio USA are separate and should be approached separately or not at all.
Pro tips
1. Keep a one-page note of every presenter you have contacted: the show, the track of theirs you referenced, the date you wrote, and what happened. It takes a minute and it is the whole difference on your next release.
2. Play the show you are pitching while you write the message. It stops you writing anything that could have been sent to somebody else.
3. Set up the Amazing Radio account and upload the track before you tell anybody the release date. Every conversation ends with a link to it.
4. If you get played, post about it the same week rather than the same hour. Airtime is worth more to your own audience once you have the clip or the screenshot to show them.
5. When a presenter does reply and passes, keep the email. What they said about why is the most useful note you will get all campaign, and it is free.
Frequently asked questions
Do I have to upload to Amazing Radio, or can I just email a presenter?
You have to upload. The station works from music on its own platform and will not take a track as an email attachment, so any message you send needs to end with a link to the track on your Amazing Radio profile. Get the account set up at amazingradio.com/connect/signup and check the site's current terms on what a free account covers before you plan around it.
How long should I wait before following up?
Two weeks, once, and only if you have something new to say. Silence is usually a scheduling decision rather than a verdict on the record. If a fortnight passes with nothing, let it go and come back when you have a different track. Chasing a presenter who has already decided costs you the next conversation as well as this one.
Which presenter should I approach if I am not sure where I fit?
Listen before you choose. The shows are listed at amazingradio.com/shows and this week's times at amazingradio.com/schedule, and the show pages carry what has been played. Pick the show whose recent tracks sit closest to yours and approach that one. If nothing fits after an evening of listening, the honest answer is that this record is not for this station yet.
How do I know if my track was played?
Check amazingradio.com/aired, which lists what has recently gone out, and amazingradio.com/chart for the weekly chart. Nobody is obliged to tell you, and stations regularly play records without emailing anybody, so the habit of checking for yourself is worth building early. Screenshot anything you find, because those pages update and the evidence goes with them.
Is it worth approaching Amazing Radio USA as well?
Only if there is a reason. It is a separate station at amazingradio.us with its own output, so it needs its own listening and its own message rather than a forwarded copy of the UK one. A US tour, a collaborator based there, or a record that has already found American listeners is a reason. Wanting more plays is not.
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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Social media is the slow version and it works better
Presenters are easier to reach in public than in an inbox. Follow the show, reply to the post where they list what is coming up, say something about a track that is not yours. Do this for a few weeks before you ask for anything. It is not a trick: you are becoming a name they recognise, which is the only thing that separates your message from the fifty underneath it. The rule is that you comment on their work, not on your own. Someone who has been quietly turning up in the replies for a month and then sends one short email is a different proposition from a stranger, and it costs you five minutes a week.