19 Music Promotion Platforms: Compared by 7 Key Factors

I don't think it makes sense to really brag about our own service, we're going to look biased whatever we say. So I'll keep it short: We choose who to pitch your song to, using a pitching expert who already worked with many of these curators for 3+ years. This leads to better acceptance rates, and we're very proud of that. We combine this with being known for paying the largest share of our revenue to our curator network, allowing our curators to really invest into their playlist engagement. We believe that this combination leads to the best results for artists, and curators.

This service is a more all-round oriented competitor compared to many other music promotion platforms. If you say (AI) tools, you say RecordLabel AI. RecordLabel.ai describes themselves as more tool-driven. Its Playlist IQ system helps artists identify and target relevant playlist curators based on factors such as genre, audience and playlist data. Their platform is generally seen as really technical, with many different (AI) tools available, some free and some requiring a subscription. With a 4.5 star rating on Trustpilot, artists are generally enthusiastic about their service, but a decent part of their reviews are also more related to the tools they provide for artists.

Even though spot 3 is shared by 6 other companies (we ranked the services based on curator-platform revenue split), SubmitHub is listed first, because it is the largest platform volume-wise, and it has good credibility due to its high quality engagement monitoring. This is also the first "drop-by-drop" model music promotion company. This means you select the playlists to pitch to yourself, and you can customize the campaign as much as you want. With curators ranked on listener size, you can pitch to many small ones for $1, or fewer playlists, but then you contact more large ones for $5. Please note that in general, the largest playlists have lower acceptance rates, and are more difficult to land on.

Next on our list is Groover, who market themselves as the European alternative music promotion platform. They are based in Paris, France. On size they're indeed the largest European option, but from the 18 submission platforms we compare, 8 other submission platforms are also based in Europe (50%), so they're far from the only one on the continent. The most important features of Groover are that they are cheap to pitch, with costs being only €2 and some special lists cost up to €6. This does come at a cost, as many large curators don't join Groover. Their €1 payout is not enough to sustain a large playlist, and going to a higher paid tier is made very difficult, at least for external curators on Groover. Some curators on the platform report giving lower acceptance rates to compensate for the low pay (Reddit). Groover also has their own playlists promoted in their marketplace, called "Groover Obsessions" playlists, which are always displayed first and part of the most expensive tier. There are reports (Reddit) from artists that those playlists are often very inactive, some only reporting 10-30 streams from them. All other curators have to prove listener numbers of 300-600 per playlist, per month, to get into this same tier, showing some favoritism to their own playlists. This is another case of doing your own research, where and who you pitch to. The platform is also controversial regarding their feedback quality. There are no checks and balances for copy-pasting feedback, leading to some reports of totally unrelated feedback (Reddit).

Un;hurd is a music promotion platform that leans towards the more expensive side per individual contacted curator, but in return they provide a very extensive curator network, and because of their relatively good curator payout almost all large curators are present on the platform. This means that if you have a very good and marketing-ready song, the potential reach of your song is really large on Un;hurd. They are a London-based start-up, with their core being playlist-pitching, but they offer other services on the side, like social media ads and custom landing pages. A small limitation is that they have few Trustpilot reviews, but we had multiple reports of curators being active on the platform, and from their perspective the pitching all seemed fair. As a smaller submission platform, their playlist engagement tracking is currently a bit limited, so be sure to do your research about submitting to specific playlists.

One-submit is one of the two Israel based companies in our list. It is a fairly neutral one on the list. They have excellent Trustpilot reviews regarding their playlist pitching and artists can choose themselves which curators to pitch to. There is still some room for improvement for them in their playlist engagement tracking. They do check playlist activity before a curator is added to the platform, but afterwards there is not much monitoring done by them, unless an artist complains about activity of a specific playlist. This means that it becomes more difficult for artists to find the right playlists to pitch to. With a fairly lower submission price that is not the end of the world. As a reminder, a lower curator pay frequently means that some of the large curators avoid a platform.

Our comparison tries to include all large submission platforms, but also a few more niche competitors that we know. SongRocket started in April 2021, and we talked to a curator that was active on the platform between 2023 to 2024. They stopped curating there since there were not enough submissions, but it is a legit company with actual curators involved. Still, if you look at the handful of Trustpilot reviews available, you see a fairly low average rating. Regarding playlist activity, the platform mainly checks curators engagement when applying, and there are no listener engagement statistics displayed about the curators. Since it is the "full campaign model", you can't do further research to avoid certain playlists if you have a bad feeling about their engagement.

Submitlink is the only Canadian submission platform in our list, and it was started in 2022. Since then it has made some strong impressions as a music promotion platform. They have a high Trustpilot rating, with plenty of reviews, and their playlist engagement estimations are not at the level of SubmitHub, but they are far better than the attempts of most other submission platforms. They are also a "pure" Spotify submission marketplace, meaning that they focus fully on connecting artists with Spotify playlist curators. They have no bloggers in their network, so if you get placements it will be on Spotify only.

PlaylistPush started in 2017 and it has since then pushed to become one of the largest submission platforms. Where most of their competitors are focussed on smaller campaigns, tailored towards the often more limited budgets of independent artists, PlaylistPush has a different approach. Their smallest campaigns start at $285, reaching approximately 35 curators, though this is not an exact number. The amount of curators reached depends on the playlist's score. A higher score means that you contact a higher potential playlist, but it also takes a higher price to be considered for that playlist.

Orion Promotion started in 2023. These sections and tables are based on only information that is publicly available or known within our curator network. Sadly, for Orion Promotion, we could not get in contact with any curators that are, or have been active on the platform. We're happy to extend this section if we have more information available. We recommend artists to do their own research before pitching, since their Trustpilot reviews are at a 2.0 from 84 reviews. Furthermore, we could not locate any page that gives a transparent overview of the available curators in their network before making an order. Finally, there is no business information available from an office or other registered business address. The terms and conditions only specify that the company is based in the Netherlands.

Wallstream made its debut in 2021. The US company is known for their artist-centered positioning, where curators get paid by a percentage of the royalties earned by the artist, not any direct payment. This is a great option in theory, as it is important to align the interests of artists and curators to make a song a success. The challenge however, is that curators often require money to grow their playlists engagement (using META ads, or other methods to reach listeners). If this is not provided by the artist, the curator can't make an artist reach new listeners, and results decline for the artists in their network. Next to that, for someone to really grow significantly on Spotify, the algorithm needs to step in and give an additional push. Curators don't have any control over that, and this uncertainty makes it difficult to select clear winners. Still, there are curators that really like this model, and if their listeners come from Instagram posts or stories, their cost basis for listeners might be low enough to make Wallstream a valid option. If they're not overcrowded by artists, it can definitely be a good option for artists to try the platform.

Soundcampaign started in 2018 and it has since then made a major push to become one of the largest submission platforms. Soundcampaign is another "Full Campaign Model" service, where all the work is taken out of your hands, so you can focus on making music instead of studying playlists & their specific mood/engagement/energy to pitch to the right lists. Where many competitors are focussed on smaller campaigns, Soundcampaign requires a minimum $150 campaign to start, reaching 10 to 21 curators, depending on the genre and the engagement level of the selected playlists. The platform has the most Trustpilot reviews (2315) of any music promotion service, but with a 3.9 it is slightly lower than some of their large competitors. Furthermore, they don't only offer playlist pitching services, but artists can also run their own META ads campaigns using a Soundcampaign landing page.

MusoSoup, together with Wallstream are the two options that have a different business model compared to most other promotion services. To me, MusoSoup feels like the big brother of Wallstream: more curators, more Trustpilot reviews, and a business model that makes a bit more sense to me. Musosoup requires a £42 investment to have your track included in their network. This allows curators to contact you, with a competitive offer to promote your song. This can be a blog post, playlist placement, or other variant of promotion. In return, the curator asks a percentage of the royalties of the track, or even complete royalties of the artist. If you're looking to invest less heavily monetarily, this is definitely a valid option. It is important to note that there are also many curators, specifically the large curators, that are not convinced by their payout structure, thus meaning that you might mainly be contacted by less influential curators.

Another service that takes a more alternative approach to music promotion is Songtools. With a 4.4 rating out of 372 Trustpilot reviews, artists seem to be happy with the services they provide. Many of these reviews are also about other services Songtools provide, like running META ads for artists, or their fan engagement tools for independent artists. Regarding their playlist promotion, the results are a bit more mixed, with some getting great results, and others complaining about landing on inactive, little, or no playlists, though this is something you see on any website that offers a legitimate pitch, with no guaranteed results. Songtools provides a little guidance to artists about playlist engagement, with a "Playlist Pulse leaderboard" displaying the most impactful playlists. Still, since their in-platform data is fairly limited, reviews recommend double-checking playlist health using independent tracking tools. Further noteworthy information is that Songtools is a service that doesn't pay a certain standard amount per individual pitch to curators, but they give a monthly "stipend/fee" to the most active and engaged curators in their network. We have not been able to find curators that are also active on Songtools, but on a Reddit post we found a curator that said that most people don't get paid anything, or ~less than 10% of the revenue Songtools make. This means that it is very difficult for curators to keep their playlists engaged.

This Netherlands-based company is a digital music marketing and promotion agency focussed around independent artists. It is a challenge to write a short introduction about them, as there is little information shared by them. They mainly get their customers from running advertisements, and not many blogs or informational articles about their service are available. They do have excellent reviews on Trustpilot, and with 1000+ reviews they're one of the largest playlist pitching services on Trustpilot. Since little other information is available, we dived a bit deeper into their Trustpilot reviews. Artists stated in some cases that they had all the streams come from one or two playlists, and in other specific cases there are some complaints about songs landing in playlists that felt totally unrelated (an English song in a Turkish speaking list). These issues were often addressed and resolved. Another interesting fact about the service of YouGrowPromo is that they are one of the few platforms in our list guaranteeing streams, the number depending on which package you order. If you don't reach that number, you're promised a full refund, with Trustpilot reviews confirming this is honored. Multiple artists, also on this Reddit thread, have confirmed that the playlists are bot-free, but to some of them the streams felt very "empty" or "non-engaged" as the playlists were really generalist. With all these reviews and guarantees, the biggest uncertainty artists have left is which playlists their song ends up on, as there is not much transparency by YouGrowPromo about who is in their network.

Daily Playlists started as a 100% free service for artists in 2017, which is how it gained a lot of popularity early on. In 2023 they added paid submissions, which are a minority of the submissions they process daily. In this article, we're mainly analyzing their paid option as this makes the comparison with other paid options easier. Their current biggest challenge is monitoring playlist activity. This was not really required when they offered a free playlist pitch, but paying customers have higher expectations. Daily Playlists do some filtering on their platform for the paid pitch, as our curators reported that only some of their playlists were eligible. This was not based on their current playlist activity, and their guess was that it is mainly based on the follower count of their playlists. Still, if artists manage to pitch to the right paid playlists, Daily Playlists is one of the cheaper places to pitch to curators. The key challenge is that with only a $1.20 payment, and low submission volume, many large playlist curators are not available on the platform.

Since Soundplate only offers free music promotion, our analysis of the platform is a bit more limited, as are the pro's and con's. We will use this space to discuss free playlist pitching in general. We do think that free playlist pitching is a great concept, and we're building our own tool as well to help out beginning artists. Still, most of these pitches are a big gamble, as even when you get accepted, the majority of playlists bring <5 monthly streams. The problem can be explained in one sentence; If playlists are highly active, would curators prefer a free submission, or paid submissions using one, or multiple of the 18 other platforms mentioned in this comparison. There is a huge imbalance between playlist curators and new artists. If we run conservative numbers, there are approximately 4 million artists uploading their first song, and another 4 million uploading 2nd, 3rd, 4th, etc. songs on Spotify in 2025 (source). If we assume that 30% of that 8 million want to promote their song on a submission platform, 2,400,000 people are looking to promote a song. With the estimate being that there are around 2500 independent curators (based on a large submission platform like SubmitHub), this means that there is a ratio of 1 curator for every 960 songs. You might understand why the free pitch is less likely to realize major results. Still, for reaching your first 30 to 50 streams, free playlist pitching is a great tool to use. Furthermore, it can also help you get an idea of how marketable your song is, looking at the ratio of accepts/declines on the free platforms before you move towards paid music promotion.

Since Pitch Playlists only offers free music promotion, our analysis of the platform is a bit more limited, as are the pro's and con's. Free playlist pitching is a great concept for reaching your first 30 to 50 streams — and it can help you get an idea of how marketable your song is, looking at the ratio of accepts/declines on the free platforms before you move towards paid music promotion. But most of these pitches are a big gamble: there is a huge imbalance between playlist curators and new artists, with roughly 1 curator for every 960 songs submitted. You might understand why the free pitch is less likely to realize major results.

Another relatively new and small competitor is Curator Club — I'm almost certain most of you are not familiar with them. Curator Club started in 2023 and is based in Phoenix, USA. Some of our curators are still on the platform, but for them the last received submission has been more than 6 months ago. Looking at their Instagram, there has also not been any activity since March 2026. If they ever come back, here are some general facts about their pitching model, Trustpilot reviews, curator payouts and pitching fees.