There's a specific moment in every artist's career when hiring a publicist stops being a waste of money and starts being essential. The problem is that most musicians can't identify that moment, so they either hire too early and burn through budgets with nothing to show for it, or wait too long and miss critical opportunities.

The confusion makes sense. PR agencies pitch their services as the key to breaking through, and when you're struggling to get noticed, that promise sounds like exactly what you need. But here's what the agencies won't tell you upfront: if you're not ready for what a publicist actually does, you're just paying someone to pitch a story that journalists won't care about.

Understanding when you're genuinely ready requires looking at three specific indicators, all of which need to be in place before professional PR makes any sense. The first is having something newsworthy to promote. That sounds obvious, but it's where most artists get it wrong. Newsworthy doesn't mean you finished a song you're proud of or booked a local gig. It means you've got a release with a clear angle, a tour with notable venues or support slots, or a collaboration that extends beyond your usual circle. If a journalist can't immediately see why their readers would care, your publicist is fighting an uphill battle you're paying for.

The second indicator is existing momentum. Publicists amplify what's already working. They can't create interest from nothing. If your Spotify numbers are stagnant, your social media engagement is minimal, and you don't have any organic press clips or blog coverage, a publicist can't magically manufacture momentum. They need something to point to when they pitch your story. Publications want to cover artists who are already connecting with audiences, even if those audiences are still small. The publicist's job is to expand that reach, not create it from scratch.

The third factor is having the infrastructure to capitalize on coverage. If you land a premiere or feature, you need to be ready to convert that attention into lasting connections. That means having an email list setup, a consistent release schedule, tour dates that align with your press campaign, and the ability to respond quickly when opportunities come through. Coverage without infrastructure is like opening a store for one day and then closing it. The attention comes and goes without building anything sustainable.

What publicists can actually do is leverage their relationships to get your music in front of editors, producers, and writers who might not discover you otherwise. They understand what different outlets are looking for and how to frame your story in ways that fit those needs. Good publicists save you time by handling the pitching process, following up, and managing multiple campaigns simultaneously. They know when to push and when to pivot based on what's landing.

What they can't do is make journalists care about something that isn't compelling. They can't compensate for weak music, poor timing, or a lack of story. They can't force placements or guarantee coverage, despite what some agencies imply in their pitches. And they definitely can't replace the grassroots work of building a fanbase and creating genuine connections with your audience.

Evaluating whether you're getting real value from PR services comes down to tracking specific outcomes. Are you landing coverage in publications that reach your target audience? Is that coverage translating into measurable growth in streams, followers, or ticket sales? Can your publicist articulate why certain pitches worked and others didn't? The best PR professionals are transparent about results and strategic about adjusting their approach based on what's happening in real time.

For artists who aren't ready yet, there are budget alternatives that build toward eventually needing a publicist. Services like SubmitHub let you pitch directly to blogs and playlists without the monthly retainer. Building relationships with music journalists on social media, engaging genuinely with their work, and offering exclusive content when you do have something to share can open doors without formal representation. Regional press often covers local artists more readily than national outlets, giving you clips and experience before scaling up.

The artists who get the most value from publicists are the ones who hire them at the right moment, with realistic expectations about what professional PR can and can't accomplish. That moment isn't about reaching a certain follower count or budget threshold. It's about having all three elements in place: something worth covering, momentum worth amplifying, and infrastructure worth investing in. Without those, you're not hiring a publicist. You're hiring someone to learn an expensive lesson on your behalf.