Finlay Johnson

PR and marketing for electronic music are being rewritten in real time. AI tools are reshaping how music gets discovered and how editorial content gets used. DSP editorial is evolving into a different kind of gatekeeper than it was a few years ago, and social platforms are fragmenting by age and demographic, with under-16 bans landing in the UK and Australia and shifting the shape of who artists can reach and how.

At the same time, new channels are opening up. Independent writers, newsletters, personality-led journalism, and long-form podcasting are building audiences and trust on their own terms, often faster and more directly than the outlets they’re replacing. This panel brings together voices from PR, artist management, platforms and independent media to map out where things are heading and where PR and marketing are best spent in this new environment.

Promoters carry a significant share of the financial risk in live music and operate in conditions that have become harder year on year. Talent costs have moved. Ticketing has changed. Audience behaviour around buying tickets in advance has changed. The promoters building durable businesses are the ones doing the work this session captures. The session is honest about money and specific about the practices that produce a sustainable business

In this session The Association for Electronic Music will run through their newly launched project ’The Promoter Good Practice Guide’, which was shaped by some of the world’s leading promoters, agencies, managers and marketing and ticketing companies. The work details their view of best practices when it comes to promoting, with the aims of making it a sustainable venture. The session will close with an open floor Q&A, which all participants are encouraged to get involved in.