An electronic press kit is a single online page or folder that gives journalists, bookers and playlist curators everything they need to cover or book an artist: music, a bio, photos, video, press quotes and contact details.
It is a tool within wider music marketing for independent artists, and it earns its place by saving other people time when they are deciding whether to write about, book or playlist a release.
What an electronic press kit is for
A press kit answers the questions a busy stranger has before replying to a pitch: what does this artist sound like, who are they, what have they done, and how can they be reached? The people reading it are rarely fans. They are bloggers, promoters, venue bookers, radio hosts and editors who receive many requests and make quick decisions.
The guide to building a kit on Hypebot frames the job this way: the most important thing to think about is how the kit is going to be viewed from the other side of the fence. In practice that means putting the most useful material first, keeping every item easy to find, and removing anything that does not help a reader decide.
A press kit is also a different thing from a full website. A website can carry a story, a shop and a blog. A press kit is a focused slice of it, built for people who want to scan, listen, copy a few lines and move on.
What to include
Most guides agree on the same core set of items. Each item removes a step for the reader:
- Music. Streamable tracks, with the strongest or newest one first. Bandzoogle advises that the music should feature prominently near the top of the page, so nobody has to scroll to hear it.
- A short bio and a longer one. Details are covered below.
- Press photos and artwork. Files that can be downloaded and used without asking.
- Video. A live performance or official video, embedded so it plays on the page.
- Press quotes and achievements. Short, attributed lines from reviews or radio hosts, with links back to the source.
- Links. Streaming profiles, social accounts and a website.
- Contact details. A working email address, plus management or booking contacts if they exist.
The contact line deserves more weight than it usually gets. A Sonicbids guide to approaching bloggers says it cannot stress enough how important a contact page is, and it suggests at the very least an email address for the band, with management, publicity and booking contacts added where they exist.
Extras such as a tech rider, a stage plan, a tour-dates widget or a free download can be added where they suit the audience. A kit aimed at venues benefits from stage details; one aimed at blogs benefits more from a story. The rule is to include what the reader will use and leave out what only the artist cares about.
Writing the bio
The bio is the main block of text, and it gets copied into reviews, event listings and festival programmes, so it should be easy to lift. Hypebot recommends preparing both a large and short biography, and Bandzoogle makes the same point about a longer full bio for journalists or publicists who want deeper background.
For the short version, the Sonicbids guide to the press checklist says a biography should be no more than 200 words long and should cover the type of music, the band members, notable accomplishments and the new release. Streaming platforms impose their own limits too: Spotify’s help page on adding a bio says an artist profile bio can run to 1,500 characters. Writing the short bio first makes it easy to trim for each platform.
A few habits make a bio more useful to a reader:
- Write in the third person, so a writer can paste a sentence straight into an article.
- Open with the clearest description of the music, not a list of influences or a life story.
- Put the newest release and a couple of verifiable achievements near the start.
- Check spelling, names and links before sending it anywhere.
The Sonicbids guide also makes the point that bloggers need something to write about. A short, true detail about how a record was made or what inspired it gives a writer a way into the piece, which a list of genres cannot do.
Photos, logo and video
Visuals are the part of a kit that other people reuse most directly, so they need to be ready to use. Hypebot notes that promoters will use band images for posters and on an agent’s roster, and it also suggests including a PNG image of the band logo that promoters and venues can use on promotional materials for an event.
Offer a small selection rather than a gallery: a couple of clear portraits or live shots, in both landscape and portrait crops if possible, and the cover art for the current release. Name the files sensibly, such as the artist name and a short description, because that is what ends up in a writer’s downloads folder. Credit the photographer in the caption or file notes so usage is clear.
For video, restraint helps. Bandzoogle’s advice is to include just one or two videos in the press kit, chosen because they are relevant to the music being promoted, such as an official video or a live version, and embedded so they stream directly from the page. A live clip is often more useful to a booker than a heavily produced video, because it shows what the show actually looks like.
Press quotes and proof
Quotes and achievements show that someone other than the artist has taken notice. Bandzoogle suggests using a short snippet or quote about the album or single and attributing the source. Hypebot adds that positive press quotes can catch a promoter’s eye, but they should always be backed up with links.
Only quote words that were actually published, keep each quote short, and link to the original page. If there is no coverage yet, other proof works instead: a notable support slot, a festival or showcase appearance, a playlist placement or a radio session. Leave out vague claims. A promoter can check a venue name, but cannot check “rising star”.
Where to host it
Bandzoogle says that hosting the kit as a dedicated page on the artist’s own music website is the most reliable option, because the artist controls the content and can update it at any time. A downloadable PDF version is a useful companion for people who want to forward the kit or read it offline, but the web page should stay the master copy so nothing goes out of date.
Streaming profiles work as a lightweight kit as well. Spotify’s help centre describes the artist profile as a homepage on the service where music lives and fans can learn more, and its page on the Artist Pick says the pick sits at the top of the profile and can showcase songs, albums, music videos, playlists, concerts or merch. Linking the same release from the profile and the press kit keeps the message consistent.
When a release includes physical or digital goods, the kit can point to the shop, and the guide to band merchandise covers how to plan and price those items. The kit itself should stay light on selling: its job is to inform, not to close a sale.
Sending the kit and keeping it current
A link to a kit is not a pitch. The Sonicbids guide warns that mass emailing a press release to every industry contact is a good way to get ignored and blocked, and it treats the release and one-sheet as extras that accompany a personal first email. A short message that says who the artist is, why this particular writer or venue is being contacted, and where the kit lives works better than a pile of attachments.
Kits are also useful beyond cold outreach. They can be linked from an email signature, included in a booking enquiry or shared with a festival that asks for materials. A fan list can be a source of coverage and bookings as well; the guide to email marketing for musicians explains how a mailing list reaches people directly, without depending on any platform.
Finally, update the kit whenever something changes. Bandzoogle recommends refreshing it as new music comes out or a significant show is booked. A stale kit that features last year’s single, a dead link or an outdated contact email signals that nobody is paying attention, and that is exactly the impression it is meant to prevent.
Frequently asked questions
Is an electronic press kit the same as a press release?
No. A press release announces a single piece of news, such as a new single or tour. An electronic press kit is a lasting resource with the bio, music, photos and contact details, and a press release can link to it.
Does an unsigned artist with no press need a kit?
Yes. A kit without reviews still helps promoters and playlist curators judge the music quickly. Achievements such as shows played or releases made can stand in until coverage arrives.
Should the kit be a website page or a PDF?
A web page is easier to keep current and to share as a single link. A PDF can be added as a download for people who want to forward or archive it, but it should be generated from the page so the two never disagree.
Can streaming profiles replace a press kit?
They cover part of the job, since they hold music, a bio, images and links. They do not usually hold downloadable press photos, press quotes or booking details in one place, so a separate page is still worth having.
