Headlines to Headliners: The Importance of Music Journalism in Grassroots Music Scenes

Photography: Meg Ivy | @ughmegivy

On a Thursday evening in Cardiff, young creatives gathered for a night of insights, live music and networking. Hosted in association with award-winning Welsh music platform Klust, the “Headlines to Headliners” panel brought together journalists Sophie Williams and Teresa Delfino, and Youth Music NextGen Fund artist, Lewys Meredydd.

After the panel, we were treated to performances by Welsh Youth Music NextGen Fund artists Malan and Bruna Garcia and to top it off, a DJ set from Welsh producer, IF . AND.

Couldn’t make it this time? We’ve pulled together all the top tips from the panel…

Getting into music journalism (and staying in)

Start by writing for yourself
The best place to begin isn’t waiting for permission from a big outlet, but creating your own space.

• Start a blog, Substack or independent platform where you can write freely and consistently.
• Sophie shared how she began with a personal blog as a teenager, which later opened doors to writing for NME, The Guardian and eventually Billboard.
• Teresa echoed this, describing blogs and Substack as powerful, low‑friction entry points into journalism today.

Don’t wait to be “picked”
Self‑initiated work becomes your portfolio.

• Pitch your own writing to local magazines, blogs and zines first.
• Use published pieces (however small) as proof of your voice and commitment when approaching bigger outlets.

Be present in real‑world music spaces

• Go to gigs, even when you don’t recognise the names on the lineup.
• Say yes to local opportunities: festivals, community radio, student projects, zines.
• Sophie’s career grew directly from Cardiff’s independent venues, blogs and newspapers trusting her from a young age.

Develop your own taste and voice

• Readers and editors return because they recognise what you care about and how you write.
• Your value isn’t music theory, it’s your perspective, your emotional understanding, and the stories you notice that others might miss.

The changing landscape of music journalism

You don’t just write anymore
Modern music journalism often means wearing multiple hats:

• Writing (short‑form and long‑form)
• Radio presenting
• Panels, consultancy and live events
• Audio and video content

Many freelancers now combine editorial work with radio, consulting for artists or labels, and hosting or speaking at events.

Social media matters, but it isn’t everything

• While visibility online is often expected, Sophie shared that she doesn’t rely heavily on social media. Instead, she’s built her career through radio and long‑form journalism.
• There is still space for deep, well‑resourced editorial. Slow journalism hasn’t disappeared.

DIY success isn’t always what it seems

• Lewys highlighted how some artists appear fully “DIY” online, but actually benefit from clever PR tactics behind the scenes.
• Techniques shift quickly, which can make the industry feel confusing or intimidating for grassroots artists.
• Understanding this context helps journalists write with more clarity and realism.

Critique vs support: writing honestly without crushing people

Honesty is part of the job

• Artists know that sending music to press means risking criticism.
• Journalism isn’t a personal attack, it’s about truthful response.

Context and care, especially locally

• When reviewing local gigs, Teresa described holding space for “the gig, the musician, and the moment it’s happening in.”
• Simply turning up and writing about local work already elevates the scene.
• Honesty can coexist with care.

Your voice becomes your currency

• Consistent honesty builds trust with readers.
• It also builds respect with labels and PRs, who come to you for genuine perspective, not flattery.

Money, boundaries and self‑worth

Unpaid work: sometimes useful, always limited

• Early in your career, unpaid opportunities are common.
• Teresa explained they can help build experience, but they should also teach you when to say no: “You wouldn’t walk into a coffee shop and ask for a free coffee – why should your work be any different?”
• There’s a difference between strategic unpaid work and organisations relying on you undervaluing yourself.
• Learning where that line is will shape your sustainability long‑term.

Local scenes and community

Local journalism can lead to national impact

• Editors at national outlets pay close attention to local blogs, community radio and regional magazines.
• A local review or interview can be the bridge to national coverage, label interest or A&R attention.

Welsh‑language and local platforms matter

• Initiatives like Lleisiau (via Klust) offer funded, high‑quality coverage – and even vinyl releases – for grassroots bands.
• For artists, features on local platforms can be emotionally and professionally huge.

Being locally embedded makes you more trustworthy

• Sophie shared that, as an editor, she trusted writers who were clearly part of their local scenes. That context made her more confident commissioning them for national coverage.

Relationships are the real engine

“Be nice to everyone” is practical advice

• Lewys emphasised showing up, remembering names, and staying in touch.
• Those people may later need a bio, a feature or a radio slot, and you’ll be top of mind.

Trust takes time

• Sophie’s US interview trip came from years of relationship‑building with one person connected to the artist.

Lateral networking matters

• Talia encouraged “building together.”
• Early‑career journalists and artists supporting each other, covering shows, exchanging favours, growing side‑by‑side, can be just as powerful as chasing big names.

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