How to Get Your Song Mentioned in Festival Press: PR Tactics Inspired by 'Broken Voices' Distribution Wins

Hook: Your film just won at a festival — why you still aren’t getting press for your music

You poured time and heart into a track that became the spine of a festival-winning film, yet your inbox stays quiet while the film’s distribution deal headlines the trades. That gap — between film acclaim and music visibility — is where most artists lose momentum. Festivals like Karlovy Vary now function as launchpads for distribution deals and trade coverage, but musicians must execute targeted PR to turn those laurels into press, placements, and streaming spikes.

Why this matters in 2026 (fast)

In late 2025 and into 2026 festivals have become even more central to multimedia discovery. Sales agents such as Paris- and Berlin-based Salaud Morisset are packaging films with marketable assets and closing multiple deals — as seen when Ondřej Provazník’s Broken Voices won the Europa Cinemas Label at Karlovy Vary and then sold to multiple distributors at Unifrance Rendez-Vous. That same momentum creates a narrow window — often 2–8 weeks — where trades, playlist curators, and licensing buyers are actively looking for related music stories.

"Karlovy Vary Prizewinner ‘Broken Voices’ Sells to Multiple Distributors (EXCLUSIVE)" — Variety, Jan 16, 2026

The PR reality: film press ≠ music press (but it can become that)

Film trades and music outlets operate on different beats. Trade outlets (Variety, Screen Daily, The Hollywood Reporter) prioritize distribution deals and festival business. Music outlets (Billboard, Pitchfork, Rolling Stone) care about songcraft, artist narrative, and streaming performance. Your job: craft bridges that give both camps credible, exclusive reasons to cover your song.

Core goals for a festival-driven music PR push

• Earn trade coverage tying your song to the film’s distribution narrative.
• Secure music press features that profile you as the artist behind the film’s sound.
• Drive measurable streams, playlist adds, and sync leads through coordinated outreach.
• Protect rights and monetize via cue sheets, ISRCs, and clear licensing paths.

Playbook Overview: When to act and what to do

Follow a time-bound, multi-channel playbook. The faster you capitalize after a win or distribution announcement, the higher your chance of converting film buzz into music press.

Phase 0 — Before the festival (preparation)

• Build an up-to-date EPK (electronic press kit): high-res photos, bio, 30–60s stems, lyric sheet, ISRC & cue sheet, short director/producer quotes about the song.
• Map your press list: split into film trades, music press, sync/placement outlets, and playlist curators. Use AI tooling in 2026 to enrich lists with recent bylines and current beats.
• Secure permissions: get written clearance from the director/producer to publicize the song’s part in the film, and confirm rights holders for licensing queries.

Phase 1 — Festival window (real-time outreach)

During the festival, act as both reporter and connector.

• Live social proof: post behind-the-scenes clips and tag the film, director, festival, and sales agent. Use festival-specific hashtags and add a short clip where your music plays under credits.
• Collect quotes: ask the director and lead actor for quick soundbites about the song’s role. Short video quotes are gold for outlets and social.
• Track trade activity: when a sales agent like Salaud Morisset begins shopping the film, note who covers the announcements. Those journalists are your primary trade targets.

Phase 2 — Announcement moment (distribution deal or award)

This is your highest-leverage moment. Coordinate with the film team and sales agent to align messaging and timing.

1. Time an exclusive — Offer an exclusive to one trade outlet (e.g., Variety) on the angle: "How the score/song helped secure distribution deals for Broken Voices". Trades love business hooks; position your music as part of the film’s marketability.
2. Follow with a music feature — Within 24–48 hours, pitch music outlets with a storytelling angle: behind-the-scenes, creative process, stems, and the artist-director collaboration.
3. Release assets — Share a media pack with a short, embeddable song clip, quotes from director/producer, cue sheet, and links to streaming and purchase pages.

Pitching templates & subject lines that work in 2026

Use these tested lines and adapt to your story. Keep emails short, specific, and exclusive.

Trade outlet (example)

Subject: Exclusive — How [Song Title] helped land distribution deals for Karlovy Vary winner "Broken Voices"

Email body: 2–3 sentences. Mention the distributor (Salaud Morisset), the award (Europa Cinemas Label), and offer an embargoed quote from the director plus stems for soundbeds.

Music outlet (example)

Subject: Behind the song that anchors Karlovy Vary winner "Broken Voices" — artist interview & stems

Email body: 3–4 sentences. Emphasize craft, the director collaboration, and streaming/availability details. Offer a one-on-one interview.

Playlist curator / sync agency

Subject: Film-backed track with festival buzz — [Song Title] (clean 30s clip + stem)

Email body: Link to song clip, brief usage rights summary, and the film’s festival laurels. Mention upcoming distribution windows — curators love timely hooks.

Angles that get coverage — choose one and execute

• Business angle (trades): Your song made the film more marketable — how music influences distribution decisions.
• Creative angle (music press): Deep dive into composition, collaboration with director, and scoring choices.
• Human story (features): Your journey to scoring the film, serendipity at the festival, actor/crew reactions.
• Data angle (brands/tech): Streaming uplift, Shazam spikes, playlist placements after the festival win.

Leverage festival laurels with tactical moves

Display and distribute your laurels deliberately.

• Add festival badges and mention awards in your EPK, website, and social bios. Use consistent language: e.g., "Music featured in Karlovy Vary Europa Cinemas Label Winner 'Broken Voices'".
• Coordinate with the film's sales agent (like Salaud Morisset) to cross-promote. If they announce distribution deals, ask to be tagged or included in quotes.
• Use distributor windows to time follow-up pitches in specific territories — local outlets often cover soundtrack stories when a film is released in their market.

Assets checklist — what to have ready now

• High-res photos (artist + film stills with clearance)
• Short stems and 30s clips optimized for social and press embeds
• EPK: bio, credits, ISRC, cue sheet, licensing contact
• Director/producer quotes and festival captions
• Embargoed exclusive package for one trade outlet
• One-pager with suggested story angles for press

How to work with trade outlets vs. music press — dos and don’ts

Working with trade outlets

• Do pitch brisk business hooks — distribution, sales, festival strategy.
• Do offer exclusives and embargoed interviews.
• Don’t be overly promotional — trades want context and market impact, not a sales pitch.

Working with music press

• Do highlight craft, narrative, and access to stems/interviews.
• Do provide listening copies and context about how the music shaped the film.
• Don’t bury credits — make it easy for writers to link to you and the film.

Maximizing earned media and paid amplification

Earned media begins the conversation; targeted amplification scales it. In 2026 the smartest teams blend earned clips with precise paid micro-targeting.

• Boost trade or feature coverage on social to reach film and music fans in territories where distribution is confirmed.
• Use short-form video ads featuring the film’s laurels and the track to drive streams and pre-saves timed to distributor release dates.
• Retarget visitors who watch the film trailer or your music clip with playlist and streaming links.

Measuring PR success — KPIs that matter

• Earned media value: quantify placements, domain authority, and estimated ad value.
• Streaming uplift: percentage increase in streams and playlist adds after a placement.
• Shazam & discovery data: spikes after festival/press mentions are predictive of long-term sync interest.
• Sync inquiries: number of licensing leads and resulting deals.
• Search traction: your song & film queries trending on Google and social platforms.

Case study: Turning film distribution news into music press — tactical breakdown

Situation: After Karlovy Vary, Broken Voices won the Europa Cinemas Label and secured distribution deals via Salaud Morisset (Jan 16, 2026). Film news broke in trade outlets, but the song’s artist was initially absent from headlines.

Action steps that convert (applied to this scenario):

1. Offer a timed trade exclusive: pitch Variety or Screen Daily offering an angle: "The role of original music in sealing distribution for 'Broken Voices'." Include a producer quote and the song’s role in the film festival reception.
2. Follow up within 48 hours with music press: provide stems, artist interview access, and a narrative about scoring for Ondřej Provazník’s debut.
3. Coordinate with Salaud Morisset and the film’s PR to tag your artist handles and include music credits in distribution press kits.
4. Run a 7–10 day social ad campaign targeting festival audiences in territories where distribution was announced, promoting the streaming link and film screenings.

Result: Trades carry the business story; music press runs human-interest or craft features; streaming climbs and sync inquiries increase. That’s the conversion loop your PR needs to build.

Legal & licensing quick hits — don’t leave money on the table

• Ensure the film’s credits include precise music metadata: song title, artist, writers, publisher, ISRC.
• Deliver a cue sheet to the film’s production company and festivals immediately after screenings.
• Clarify master vs. sync rights. If you own the master, set a clear licensing contact and rates for small territories/streaming uses.

Advanced strategies (2026 forward)

• Micro-exclusives: Offer different short exclusives to 2–3 outlets (trade, music, tech) over a 2-week span to stretch coverage while avoiding overlap.
• Data-led pitches: Use streaming analytics and Shazam trends to produce press-ready charts showing uplift tied to festival dates.
• Creator partnerships: Work with filmmakers and actors for co-created short-form content to drive cross-audience discovery on TikTok and Reels.
• Localized PR sprints: When distributors announce territory releases, run short, targeted press sprints focused on local culture and cinema outlets.

Common pitfalls and how to avoid them

• Waiting too long — press cycles move fast. If you don’t act within 2–8 weeks of a win or deal, you lose the window.
• Pitching everyone the same asset — tailor the angle and asset set to outlet type.
• Not owning your metadata — missing ISRCs and cue sheets cost you royalties and sync opportunities.

Actionable 30-day checklist (ready to copy)

1. Day 1–3: Assemble EPK and cue sheet; secure director/producer quotes and permissions.
2. Day 4–7: Build targeted press lists (trades, music press, local outlets, playlist curators).
3. Day 8–14: Offer a trade exclusive timed with any distribution announcement; prepare embargoed materials.
4. Day 15–21: Pitch music press and playlists; send stems and artist interview offers.
5. Day 22–30: Amplify top placements with paid social ads and follow-up local PR for distribution territories.

Final notes: Be the storyteller and the connector

Your music can and should ride festival momentum into tangible visibility and revenue. The key is deliberate, timely outreach that bridges film trade narratives and music press human interest. Use the example of Broken Voices — where festival laurels and sales activity opened a market window — as a model: align with the film's PR team, craft tight exclusive angles, and push targeted follow-up to music outlets and curators.

Key takeaways

• Act fast — the best press window is 2–8 weeks after a festival win or distribution announcement.
• Pitch the right angle — trades want business hooks; music press wants craft and narrative.
• Have your assets ready — EPK, stems, cue sheets, and permissions are non-negotiable.
• Coordinate with film partners — sales agents and distributors amplify your reach when you collaborate.

Call to action

Ready to turn a festival credit into real press and revenue? Download our free 30-day Festival PR Checklist and template email pitches — and join our weekly newsletter for curated opportunities where festivals, distributors, and playlist curators converge. Submit your song or message our editorial team to get personalized feedback on a festival-tailored pitch.

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