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The media lists provided for Travel and Hospitality have opened doors to major publications, leading to valuable meetings and opportunities.
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Last updated in May 2025
Perfect for musicians, record labels, and festival organizers aiming to expand their reach within the music sector.
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150-200 Music Journalists from Top Music News Publishers
Our curated list of top music journalists for 2025 brings you professionals who excel in reporting on music trends and artist profiles. They have been selected based on the impact of their articles, their publication frequency, and the credibility of their platforms in the music industry. Accurate and up-to-date journalist profiles help you craft pitches that are both timely and highly relevant to ongoing musical discussions and innovations.
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As Senior Editor at BrooklynVegan, Sacher dominates coverage of:
Anna Gaca is a senior editor and music critic at Pitchfork, where she explores the intersections of sound, identity, and cultural innovation. Based in Brooklyn, her work champions experimental artists and interrogates the societal implications of music.
This Melbourne-born, Brooklyn-based journalist blends data rigor with cultural analysis across:
"I want stories that make the DJ booth feel as politically charged as the Senate floor." - Politics of Dancing Newsletter
At Rolling Stone since 2015, Spanos has become the definitive voice analyzing pop music’s evolving landscape. Her work bridges academic musicology and mainstream accessibility, particularly through:
“Spanos’ true beat isn’t music – it’s how sound shapes identity in the digital age.” – NYU Music Journalism Review
Brittney McKenna is a music journalist specializing in Americana, country, and folk genres. Based in Nashville, she writes for American Songwriter and contributes to NPR Music, offering nuanced analyses of artists and cultural trends.
As Editor-in-Chief of DJ Mag, Carl Loben chronicles electronic music’s evolution from underground movement to global phenomenon. His work prioritizes:
“Great dance journalism makes you hear familiar tracks in new ways – that’s my daily mission.”
Carla Gillis stands as Canada’s preeminent chronicler of underground culture, synthesizing musical expertise with razor-sharp cultural analysis. Since 2005, her work for NOW Toronto and national music publications has redefined how Canadians understand their creative identity.
“The most compelling stories live where personal creativity meets systemic change.” - Gillis, 2023 CAMJ Symposium
Successful pitches should interweave:
With recent recognition from the Canadian Association of Music Journalists and a readership spanning 82K monthly subscribers, Gillis remains essential reading for understanding Canada’s evolving cultural landscape.
As Editor-in-Chief of The Wire, Chris Bohn (writing as Biba Kopf) shapes global conversations about experimental music. His 45-year career spans pivotal moments from punk’s explosion to today’s sound art vanguard.
“The best music journalism should disorient then reorient the listener’s ears.” – Bohn, 2024 Resonance FM interview
As Managing Editor of Stereogum and author of the forthcoming cultural history Such Great Heights, DeVille has become indie rock's preeminent documentarian. His work focuses on:
"The best music journalism doesn't just report trends - it preserves the emotional truth of cultural moments that algorithms can't quantify."
Recent Milestones:
As senior reporter for WNYC's The Stakes, Johnson investigates cultural phenomena through intersectional lenses. His 2025 work examines:
"The best pitches help me hear the world's hidden rhythms - the cultural patterns most miss in the noise."
Christopher Robinson is a multidisciplinary writer and editor covering music innovation, literary culture, and artistic entrepreneurship. Currently contributing to The HYPE Magazine, his work explores how technology transforms creative industries while preserving cultural legacies.
"Every creative choice was informed by ODB's paradoxical harmonies - a 'lyrical ruckus' that demanded equally innovative storytelling."
Robinson's career demonstrates a consistent commitment to expanding how we document and experience cultural narratives. Those pitching should emphasize projects that challenge traditional format boundaries while maintaining scholarly rigor.
Dan DeLuca is the music critic at The Philadelphia Inquirer, where he has documented the region's soundscape for over two decades. His coverage spans:
As senior editor at Rolling Stone and MOJO contributor, Fricke documents music's evolving mythology through:
Awards: 3x ASCAP-Deems Taylor, Grammy-nominated liner notes, SiriusXM's 2022 Lifetime Achievement in Music Journalism
Derrick Rossignol is UPROXX’s Music News Editor and a leading voice in contemporary music journalism. Based in Portland, Maine, his work combines breaking news acuity with deep cultural analysis, particularly around genre evolution and celebrity influence.
With 150+ articles annually reaching 12M+ monthly readers, Rossignol’s work sits at the intersection of music journalism and cultural commentary. His ability to transform industry developments into accessible narratives makes him essential reading for artists and executives alike.
Emily Dunlop has carved a niche as Canadian Beats Media’s premier chronicler of rock and alternative music scenes. Through her lens and pen, she documents the energy of live performances while analyzing musical evolution across generations.
"The most compelling stories live where artistic passion meets technical mastery – show me how artists bridge these worlds."
As Westword’s Music & Culture Editor since 2021, Ferguson documents the interplay between Colorado’s creative communities and urban development. Her work combines ethnographic research with data journalism, particularly focusing on:
As the editorial force behind SOCAN’s flagship publications, Eric Parazelli has redefined how Canada’s music industry engages with its creative heartbeat. With a focus on Francophone innovation and equitable creator ecosystems, his work informs both policy debates and grassroots artistic movements.
"The best pitches mirror Parazelli’s own method—they’re equal parts cultural anthropology and data journalism." — Music Canada Media Director
As the chief rock and pop critic for The Scotsman since the 1990s, Fiona Shepherd has become synonymous with Scotland’s music journalism landscape. Her work spans:
Gail Mitchell (Billboard) stands as the definitive voice in R&B/hip-hop journalism, with a 25-year tenure shaping how the industry understands urban music’s cultural and economic impact. Based in Los Angeles, her reporting spans:
"Bring me the stories that boardrooms ignore but dressing rooms live."
Recent Honors: 2023 ASCAP Media Champion Award, 2021 NAACP Image Award for music journalism
Gerrod Harris is a Toronto-based music journalist and drummer known for his deep dive into rock and indie scenes. Currently writing for Spill Magazine, he combines firsthand musical experience with a journalist’s curiosity to profile artists shaping Canada’s cultural landscape.
Giovanni Russonello is a music critic and political reporter for The New York Times, where he chronicles jazz’s evolving role in American culture. Based in Washington, D.C., and New York, his work bridges artistic innovation with social justice movements, offering a unique lens on how music shapes public discourse.
For media inquiries, contact Russonello via his New York Times profile or through CapitalBop’s editorial team.
Howard Reich deciphers society through its artistic legacy. Currently contributing to The Forward, his work excavates the intersection of cultural production and historical memory.
Successful Pitches Demonstrate:
With 45+ years spanning The Sunday Times to his Substack Operalogue, Canning shapes global conversation about classical music. His work combines:
“The best criticism makes audiences hear familiar works with new ears while giving artists actionable insights” – Canning’s editorial philosophy, evident in his 2023 analysis of Sycorax’s post-apocalyptic staging
Hugh Morris is a London-based cultural journalist and VAN Magazine editor specializing in musicology, institutional analysis, and underdocumented creative histories. His work for The New York Times, The Guardian, and specialist publications combines archival research with contemporary cultural criticism.
mainstream pop trends, music awards coverage
Ian Shirley stands as the preeminent chronicler of physical music media, currently shaping discourse through Record Collector's Rare Record Price Guide. His work bridges academic rigor (Ed.D, Sheffield University) and trade publishing, offering unique insights into:
We recognize James Reaney as Canada's preeminent chronicler of music's role in shaping community identity. For three decades at The London Free Press and now as a cultural correspondent, he's developed unique expertise in:
Successful story ideas should:
Recent honors include back-to-back Canadian Folk Music Awards (2018, 2021) and the Governor General's History Award for his innovative heritage reporting methods.
As The Scene Magazine’s senior music writer, Baker champions Canada’s independent artists while analyzing cultural undercurrents in popular genres. His work consistently highlights:
Baker prioritizes stories with:
Notable Achievements:
“Redefined Canadian music criticism through grassroots lens” – Toronto Arts Review, 2023
As Pitchfork’s preeminent voice on music’s radical edges, Jenn Pelly specializes in artists who challenge cultural hierarchies. Her work intersects three key areas:
Recent accolades include her 2025 Granta recognition and groundbreaking work on Numero Group’s box sets. She currently splits time between Pitchfork essays and liner notes that redefine archival practice.
Jim Di Gioia remains a pivotal figure in Canadian music journalism despite Dominionated’s 2024 closure. His work continues through guest lectures and advisory roles for arts councils.
“The best pitches help me hear the music before I press play.” —Jim Di Gioia, 2023 Canadian Music Week Panel
Music journalism is vibrant and full of dynamic stories. Using insights from numerous campaigns, we show you how to time your outreach effectively, draft press releases that capture the excitement of the music world, and pitch with the enthusiasm and professionalism that music journalists expect. Let’s ensure your music campaign hits the right notes.
Engaging music journalists requires a dynamic approach that captures the essence of the industry. Here are some strategies to enhance your outreach efforts:
Using a comprehensive and affordable media list ensures that your music-related news reaches the right journalists at the right time, maximizing your chances of coverage.
Writing press releases for music topics requires a dynamic and engaging approach. Here’s how to craft compelling music press releases:
These elements will help your music press release stand out and attract the attention of journalists looking for engaging and exclusive music content.
Pitching to music journalists requires a creative and engaging approach. Here are some tips from my experience:
Following these tips will help you build strong relationships with music journalists and increase the likelihood of your pitches being successful.
Our experience with PressContact has been exceptional.
The media lists provided for Travel and Hospitality have opened doors to major publications, leading to valuable meetings and opportunities.
Thanks a ton!
Fully recommend PressContact! We got two meticulously curated lists for our upcoming launch, saving us countless hours of manual research. Great investment for any agency.
I was pleasantly surprised by the efficiency and affordability of PressContact. Their responsiveness and attention to detail are unmatched.
Investing in their media lists has been a wise decision for our PR team and for our company.