For many artists trying to break out of the buzz blogs and into the ears of the mainstream, the late night talk shows that dominate US TV schedules seem to be something of a rite of passage. Get that lauded spot alongside Conan O'Brien, or Jimmy Fallon's desk and you've opened yourself up to a whole new world that isn't just comprised of people like us that spend hours of our day scouring the internet for great new bands. There's something you just don't get from radio that you can get from a TV appearance. It feels special. it's a unique thing and as such is clearly of some importance.

You need only look through all the tributes to David Letterman's career after his retirement to see how many great musical guests he's had on his show. Future Islands had been knocking around for quite a while before they made their network television debut in March last year. With three albums already out before appearing on The Late Show with David Letterman, they'd been bubbling away in the background; appreciated by a small few who treasured them like their own little secret.

Once the world saw Samuel Herring growling and crooning along to 'Seasons (Waiting On You)' on that night in March however, while throwing the sort of shapes your dad might pull after one too many Black Sheeps down the local, they exploded and became the darlings of the Internet and even the mainstream media. Almost every show they played from that point on was sold out, all their festival appearances to capacity. As great as buzz blogs and the like are for raising the profile for new, unheard of bands, there's nothing quite like booking that competitive spot on a late night US talk show.

The late night talk show landscape is a very saturated one. Flick to any channel and you're bound to catch an enigmatic host cracking jokes about the day's news, chatting to celebrities or playing daft games with their audience. With so many of them being interchangeable (though each has tried to carve out their own little niche), it's the music where most shows try to make their mark. Each show's music producers are taking more and more risks in the hopes that these new, untested bands might do something crazy, or blow people's minds, and make their show the go-to place for music.

Charli XCX, Purity Ring, Odd Future, St Vincent, Janelle Monae, FKA Twigs, Phantogram; the list is practically endless of artists that you and I probably already know and love but that gained that extra boost thanks to a late night performance or two. Compare this to the UK's efforts and it's shockingly poor. There's practically nowhere to go on TV to find great new music.

As much as I enjoy The Graham Norton Show (judge all you want but it's a wonderfully crafted show that opts for a weird balance of guests that somehow brings out the best in all of them to create some great moments), its musical guest choices are about as exciting and fresh as a slice of dry toast. With recent guests including Mumford and Sons, Blur and Jessie Ware, it all feels like they're trying to be as inoffensive as possible by going for nothing particularly unknown.

Later...With Jools Holland has found itself becoming lazier and lazier in recent years. Whereas it used to be the place to see new, interesting bands, it's become pallid in its old age; relying on a set template that is becoming more and more staid as the show goes on. The most recent series, for instance, saw slots given to Mumford and Sons, Paul Weller and Simply Red; the sort of artists your dad would scoff at these days. You're lucky if you get even one slot devoted to someone new and unheard of and, even then, they often fit neatly into the show's aesthetic or they've already proven to be a hit elsewhere ala Future Islands.

It feels like there's no risk anymore. It's almost unbelievable that Mr. Plinky Plonk himself used to host one of the most groundbreaking music TV shows of its time, The Tube, back in the 80s; the cool older brother to The Old Grey Whistle Test's dad with the extensive record collection. Alex Petridis, back in 2008, criticised the show for only breaking middle-of-the-road singer-songwriters. Seven years later, it's a criticism that still rings true.

The truth is that if you want to find new music on TV, the best place to find it is on a mock-reality show focusing on the ludicrously rich inhabitants of The King's Road and its surrounding idylls. That's right, E4's Made In Chelsea cares more about new music than a show designed to showcase music. What a world! Soundtracking the weekly bacchanal of a vapid (yet intensely watchable) group of 1 percenters is a veritable smorgasbord of new artists from across a range of genres.

In its last few episodes that I saw, it featured over 50 new songs from artists like Gengahr, San Cisco, Menace Beach and RAT BOY, most of which are from the UK. The Made In Chelsea music team make an effort to list all the songs features in an episode alongside where they appeared in the show, so you can easily find that track you fell in love with whilst Jamie dicked about on a speedboat with a massive bottle of champagne that costs about as much as your rent for this month. There's even a Spotify playlist compiling each series' soundtrack and, with nine series to get through, that's a hell of a lot of new music.

An appearance on Made In Chelsea's soundtrack, or even an actual appearance on screen as happened with the likes of Femme, Peace and Young Kato can, like an appearance on a US talk show, leads to a much needed bump in recognition. There's a real passion for new music on the show, even if it is not as important as to who Spencer's shagging this week, and it's something we need to promote more on TV. The problem is that Made In Chelsea's audience is already one that is voracious about discovering the best new thing and the every day viewer isn't likely to switch over to Made In Chelsea any time soon. We need something, like with the US talk shows, that manages to weave this passion for new music into something digestible for all, especially for those who don't go out of their way to find new music; the old "here comes the choo-choo train" technique, but with HONNE instead of carrot and chicken baby mush.

When you consider the fact that 95% of households in the UK own a TV, whilst only 48% have a DAB radio and 77% a broadband connection, it becomes more apparent why the promotion of new music on television needs to be something we need to focus more on. Charli XCX made a smart decision in promoting herself in the US before her home country of the UK. Why? Because it was easier. She had a royal buffet of choice as to where she could break out into the mainstream over there. Since then she's rolled around on top of pianos on Letterman, outshined Iggy Azalea on Seth Meyers and spanked a cow on Jimmy Kimmel. Why should UK artists have to go to the US to make people sit up and pay attention both here and in the US? We should have the structures in place to give them that support from the off.

As great as the internet and radio is for dispersing new music to audiences, the fact of the matter is that TV has a far greater tangible impact on the success of an artist. One late night appearance was all it took Future Islands after all. British TV needs more than just Made In Chelsea, one in which music is really playing second fiddle, as the sole flag bearer for new music on TV. There's a treasure trove of great new music in the UK, let's not keep it locked away on the Internet, saved only for those who can be bothered to find it. Whether it's a new music variety show to give Later... some competition, which in turn might give Later... a spark of inspiration in order to keep up, or more risk-taking on the part of music producers on talk shows like The Graham Norton Show, new music is something we need to really celebrate on TV more.