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How to Pitch Your Music to Spotify Playlists: A Step-by-Step Guide for Artists

Getting your song in front of the right listeners on Spotify doesn’t happen by chance — it starts with a well-timed, well-crafted pitch. Spotify for Artists gives every independent musician direct access to the platform’s editorial team, but with hundreds of thousands of submissions coming in each week, knowing how to pitch strategically can make the difference between a placement and a pass. Here’s everything you need to know to give your next release its best shot.

Step-by-step: The Official Pitch Process

First, verify your artist profile at artists.spotify.com. Your distributor can assist with verification. Then upload your track through your distributor at least seven days before the release date — Spotify requires the track to be delivered and live in their system before you can pitch.

There are two ways to start the pitch once you’re logged in: go to the Home tab and choose “Pitch a song to our editors,” or navigate to the Music tab → Upcoming → then “Pitch a song.”

You’ll complete a detailed pitch form covering: the primary genre and sub-genre, the mood and theme of the track, the instrumentation used, any cultural context, and a message to the editorial team (up to 500 characters).

Timing matters a lot

Tracks pitched 14 or more days early see roughly 2x the editorial consideration rate compared to those submitted at the 7-day minimum. A good timeline is: 4 weeks before release — upload to your distributor with the release date set; 3–4 weeks out — the pitch appears in Spotify for Artists and you submit it; 2–3 weeks out — the curator review window.

Writing your 500-character description

Use the message field strategically — don’t write generic praise. Mention specific context: the story behind the track, live momentum, a notable sync placement, or the reaction from a preview audience.

A strong description sounds like: “Atmospheric alt-pop track with dreamy synths, haunting vocals, and cinematic beats. Perfect for night drives or reflective moments.” Then add context like the story behind the song, or any social proof like “Track preview got 50K views on TikTok.”

Key rules to know

You can only pitch one song at a time. Once your pitched song goes live, you can pitch another. You can’t pitch compilations or songs where you’re a featured artist. You can edit your pitch up to release day, but there’s no guarantee editors will see the changes.

If you pitch at least 7 days before release, your song will automatically be added to your followers’ Release Radar playlists t — so even without editorial placement, you get guaranteed exposure there.

After you pitch

No response means no placement — Spotify does not notify you if your pitch is declined. Placement can also arrive late; some editorial placements happen after release day. Check your status under Music → your song → Playlists.

Whatever Happened To…? The Websites That Ruled The Internet And Then Vanished

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There was a time when “going on the computer” was an event. You waited for the dial-up to connect. You listened to that sound. And then the whole world opened up — a world made up of these ten websites that absolutely everyone was on. Every single one of them mattered. Every single one of them changed how people used the internet. And most of them are gone now, or close enough to gone that it doesn’t really matter.

Here’s a love letter to the sites that built the early web.

AskJeeves was the search engine that made the internet feel friendly. You didn’t type keywords — you asked a question, like a human being, to a cartoon butler who seemed genuinely delighted to help. Before Google became a verb, Jeeves was the guy. He eventually retired (reportedly to the south of France, according to one very good joke on Reddit), and Ask.com was never quite the same without him.

MySpace was the first time the internet felt truly personal. Everyone had a page. Everyone had a top eight. Everyone had an autoplay song that immediately annoyed every single visitor — and nobody cared because it was their song. It was raw, chaotic, ugly in the best possible way, and it launched more music careers than most record labels. It also proved that people desperately want to express themselves online. Every social media platform that came after owes MySpace a debt it will never fully repay.

Napster didn’t just change music. It broke the entire industry and forced it to rebuild from the ground up. Before streaming, before iTunes, before playlists — there was Napster, where every song ever recorded felt like it was suddenly free and available at 3am on a Tuesday. The record labels hated it. The fans loved it. And the argument it started about how musicians should be paid is still happening today.

StumbleUpon was the internet at its most magical. Click a button. Land somewhere completely unexpected. Click again. Fall down a rabbit hole of weird, wonderful, brilliant corners of the web that no algorithm would ever think to show. It was discovery for the sake of discovery — surfing in the truest sense of the word. Nothing has ever replicated it, and the internet is genuinely poorer for its absence.

Newgrounds was YouTube before YouTube, a creative explosion of Flash animation, games, and irreverent humour that gave early platforms to artists, animators, and developers who went on to shape pop culture. The earliest work of some genuinely talented creators lives in Newgrounds’ archives. It still exists, quietly, and it deserves far more credit than it gets.

GeoCities was where everyone built their first website. Tiled backgrounds. Comic Sans. Animated GIFs of flames and construction workers. Visitor counters. A MIDI file playing whether you wanted it to or not. It sounds like a disaster and it absolutely was — but it was also the first time ordinary people realized they could have a presence on the internet. That idea changed everything.

Yahoo Answers was chaotic, unreliable, frequently bizarre, and genuinely irreplaceable. Where else could someone ask “how is babby formed” and receive thirty competing answers, all stated with complete confidence? It was crowdsourced human knowledge at its most gloriously unfiltered. When it shut down in 2021, it took an enormous archive of accidental comedy and surprisingly useful information with it. Quora tried to fill the gap. It did not.

eBaum’s World was many people’s first encounter with internet humour — video clips, Flash games, and content that existed in a completely lawless corner of the web. It shaped the sense of humour of an entire generation of middle schoolers, for better or worse, mostly worse, but in the most entertaining possible way.

Digg was Reddit before Reddit — a social news site where users voted stories up or down and the best content rose to the top. For a few years it was indispensable. Then came Version 4, a redesign so catastrophically misjudged that it drove its entire user base to Reddit almost overnight. It is now studied in business schools as one of the fastest self-destructions of a successful brand in internet history. A cautionary tale wrapped in a news feed.

Neopets was an entire universe — pets to raise, games to play, an economy to navigate, a community to belong to. For millions of kids in the early 2000s it was a genuine second life, long before Second Life. It taught an entire generation basic economics, graphic design, and the specific heartbreak of a pet going hungry because someone forgot to log in for a week.

The internet of today is faster, smarter, and more powerful than any of these sites could have imagined. But it has also gotten smaller in a strange way — most people spend most of their time in just a handful of giant platforms. The scrappy, anarchic, endlessly surprising web of the early 2000s feels like a different place entirely. These ten sites are proof that it was.

Tax Tips for Musicians

Here’s the thing about musicians.

Years spent learning the craft. Fingers callused from practicing scales. Four-hour drives to play 45-minute sets for 12 people and a bartender who wasn’t paying attention. All of it done out of pure, undeniable love for music. And then tax season rolls around. Suddenly the thing threatening a career isn’t bad reviews or algorithm changes — it’s a bill nobody saw coming. It doesn’t have to be that way.

The musicians who thrive long-term aren’t just the most talented. They’re the ones who treat their art like a business. No matter what country, what genre, what stage of a career — the fundamentals are the same everywhere. So here are the tax tips every musician on the planet needs to know. Share them with a bandmate. Post them in the group chat. Stick them on the rehearsal room wall.

Music IS a business. Treat it like one.

The moment a paid gig happens, a download sells, or a sync licence gets placed — that’s self-employment income. Every country’s tax authority wants their cut, but only of profit, not gross income. That distinction matters more than most musicians realize. Keeping records and holding onto receipts is the difference between paying what’s owed and paying way more than necessary.

Write off what gets spent to make music.

Instruments. Strings. Drumheads. Studio time. Microphones. The PA rented for that outdoor show. Software subscriptions. Travel to and from gigs. A portion of the phone bill when it’s used for booking. Streaming services used for research. Music lessons taken to sharpen the craft. All of it is potentially deductible against income, in virtually every tax jurisdiction in the world. Keep every receipt. There are apps for this. Use them.

The home studio counts.

A dedicated space used for recording, writing, or rehearsing can qualify as a home office deduction in most countries. That means a percentage of rent or mortgage, internet, and utilities can be claimed. It has to be a space used primarily for music work — but when it is, that’s real money back in the pocket. Money that goes right back into making more music.

Big gear isn’t just an expense — it’s a capital asset.

That vintage amp. The acoustic guitar saved up for over two years. Most tax systems around the world treat big-ticket purchases differently from everyday expenses, depreciating them over time rather than writing them off all at once. The rules vary by country, so this is exactly where a knowledgeable tax professional earns their fee — and then some.

Keep music income completely separate.

Opening a dedicated bank account for music earnings isn’t just smart bookkeeping — it’s clarity. Seeing exactly what’s coming in and going out for a music career makes everything easier: estimates, deductions, profitability. Artists who do this are always better prepared when tax time arrives, no matter where in the world they’re filing.

Grants, advances, and royalties are all taxable income.

Government arts grants, label advances, performance royalties, mechanical royalties, sync fees — they feel like windfalls, and they are. But they’re also income, recognized as such by tax authorities everywhere. Setting aside a portion the moment any of it arrives is a habit that separates the prepared from the panicked. Too many talented artists have learned this the hard way. It’s a lesson worth skipping.

Find a tax professional who actually understands the music industry.

This is the most important tip of all. A general accountant is fine. One who has worked with musicians, touring artists, session players, and songwriters is worth their weight in gold records. They understand performance rights organization income. They understand how royalty streams are treated. They know the questions to ask that most artists would never think to raise. Music is the art. Tax is theirs. Let the experts be experts.

Nobody got into music because of the paperwork. Something grabbed them and never let go — a song, a concert, a moment that changed everything forever. Don’t let disorganized finances be the thing that cuts that story short. Get organized. Get help. And then get back to making music. That’s the whole point, isn’t it?

Earth, Wind & Fire Bring Their Legendary Catalog to Honolulu for the Gracianna Concert Series This June

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Earth, Wind & Fire have a history with Hawaiʻi that stretches back to 1975, with performances at the iconic Diamond Head Crater and multiple sold-out nights at Blaisdell Arena over the decades. That relationship continues on June 13, 2026, when the Rock and Roll Hall of Famers and nine-time Grammy winners return to Blaisdell Arena in Honolulu for the second installment of the Gracianna Concert Series, presented by Gracianna Winery and concert industry veteran Rick Bartalini.

More than 100 million albums sold worldwide and a catalog that includes “September,” “Let’s Groove,” and “Reasons” make Earth, Wind & Fire one of the most enduring acts in popular music. Their connection to Hawaiian audiences runs deeper than most mainland artists can claim, and this show arrives as communities across the islands continue recovering from recent flooding, with a portion of proceeds going directly to local relief efforts.

The Gracianna Concert Series pairs world-class entertainment with elevated hospitality, offering Gracianna Medallion Club members exclusive access to premium seat packages, winemaker dinners, and partnership experiences with the ‘Alohilani Resort Waikiki Beach. “Earth, Wind & Fire bring joy the moment they take the stage,” said Gracianna Winery partner Lisa Amador. “Their music is celebratory, timeless, and full of heart.” A HawaiÊ»i resident presale is on now, with mainland tickets on sale April 10.

Kevin Costner and Modern West Join Pat Benatar, Neil Giraldo, and George Thorogood for One805LIVE! Benefit Concert

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One805LIVE! has grown into a two-day concert experience, and the 2026 lineup is shaping up as one of the strongest yet. Kevin Costner & Modern West joins previously announced performers Pat Benatar & Neil Giraldo and George Thorogood for a benefit weekend set for September 25 and 26 at Costner’s oceanside estate in Summerland. All artists donate their time and performances in support of Santa Barbara County First Responders, the mission that has defined One805LIVE! since the nonprofit was founded in the wake of the 2018 Montecito debris flow.

Costner’s involvement goes well beyond headlining. A longtime Montecito resident, he opens his home to the event each year and has been a consistent presence in the organization’s mission. His Americana and country-rock outfit Modern West, founded in 2007, has nearly two decades of touring and recording behind them, most recently with ‘Tales From Yellowstone,’ a collection of songs from and inspired by the Paramount series. Rock & Roll Hall of Famers Pat Benatar and Neil Giraldo bring more than 36 million records sold and four consecutive Grammy Awards to the bill, while blues-rock legend George Thorogood adds 50-plus years of high-energy performance and a catalog that includes “Bad to the Bone” and “One Bourbon, One Scotch, One Beer.”

The two-day format expands the event’s reach significantly. Approximately one third of attendees are First Responders invited as guests of One805, and the expanded programming allows the organization to welcome more members of the First Responder community while generating greater proceeds for equipment, mental health services, and wellness initiatives. Music supervisor Alan Parsons, OBE, returns to oversee the lineup. Additional performers will be announced in the coming months.

Folger Consort Marks 50 Years of Early Music With a Season That Spans 800 Years of Repertoire

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Fifty years is a remarkable run for any ensemble, and Folger Consort has spent all of them as the early music ensemble-in-residence at the Folger Shakespeare Library in Washington. Co-artistic directors Robert Eisenstein and Christopher Kendall, the founding directors who built this institution from its first season, are marking the golden anniversary with a 2026-27 program that ranges from 13th-century Spain to Elizabethan England, with stops in Venice, West Africa, the Arabic world, and colonial New England along the way.

The season opens September 11-13 with “Monteverdi’s Legacy,” a deep dive into early Baroque Venice featuring madrigals, motets, sonatas, and operatic excerpts by Monteverdi and his circle. December brings a centuries-spanning English Christmas program including music by Thomas Tallis and William Byrd, closing with Christmas anthems by William Billings in honor of America’s 250th anniversary. February’s program draws connections between West African griot traditions, Arabic hakawati storytelling, and medieval Provençal singer-poets, a genuinely ambitious cross-cultural program. The season closes May 7-9 with a return to music performed during Folger Consort’s very first season five decades ago.

Subscription packages for the 2026-27 season are on sale now starting at $162, with discounted packages available for patrons under 35. Single tickets go on sale in the summer.

Folger Consort 2026-27 Season:

Monteverdi’s Legacy

September 11-13, 2026

An English Christmas for the Ages

December 11-20, 2026

Folktales and Storied Traditions: Troubadours, Griots, and Hakawatis

February 12-14, 2027

Folger Consort’s Golden Jubilee

May 7-9, 2027

Bruno Mars and Hello Kitty Are Teaming Up Again for “The Romantic Tour” With Merch, Pop-Ups, and Cafe Takeovers

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Bruno Mars kicks off “The Romantic Tour” at Allegiant Stadium in Las Vegas on April 9, and Sanrio is along for the ride in a big way. Hello Kitty and Bruno Mars are collaborating again, this time with a full week of activations built around the tour launch, including a limited-edition merchandise collection, cafe takeovers across the city, and in-person Hello Kitty meet-and-greets on April 9 and April 11.

The Hello Kitty x Bruno Mars collection drops at a pop-up shop opening April 9 at The Shoppes at Mandalay Place, featuring co-branded tees, hoodies, hats, tote bags, water bottles, and more. The pop-up then travels to select tour stops including Glendale, Arlington, Atlanta, Detroit, Chicago, and Toronto, with more cities to be announced. Select items will also be available at the Hello Kitty Cafe in Las Vegas throughout the run.

The tour itself marks a genuinely significant moment. ‘The Romantic’ is Mars’ first solo album in a decade and his first to debut at number one on the Billboard 200. The 16-time Grammy winner has sold over 150 million records worldwide, recently became the first artist to hit 150 million monthly listeners on Spotify, and holds the highest-certified song in RIAA history with “Just the Way You Are.” “The Romantic Tour” arrives with serious momentum behind it.

Reggae Fusion Legend Maxi Priest Delivers Soulful New Single “Touch By An Angel”

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Four decades into one of reggae’s most enduring careers, Maxi Priest still knows how to make a song that settles in and stays. “Touch By An Angel” is out now via his Level Vibes Music imprint and distributed through Intercept Music, produced by multi-Grammy Award-winning reggae and dancehall producer Paul “Jazzwad” Yebuah. The track moves fluidly between reggae, R&B, and soul, built around the kind of emotionally assured vocal delivery that has defined Priest’s catalog since the beginning.

“This song is about those moments when love feels effortless,” Priest says. “When being with someone brings a sense of completeness, like you’ve been touched by someone truly special, your angel.” The cover art adds a personal dimension, drawn from an original illustration by Priest himself. A series of remixes will follow, offering new interpretations of the single’s groove. The release follows his recent collaboration with Sean Paul on “Feel So Alive,” which launched the Level Vibes Music imprint in partnership with Intercept Music.

Priest is also looking ahead to ‘Family,’ an upcoming live album bringing together his sons, longtime collaborators, and a new generation of creatives across Jamaica, the UK, and the United States. Beyond the music, he’s been actively supporting hurricane relief efforts in Jamaica through partnerships with The Bob and Rita Marley Foundation Relief Fund and Tropical Sun. One of the only reggae artists to score a solo number one on the Billboard Hot 100, and now inducted into both the Jamaica Music Museum Hall of Fame and the Reggae Walk of Fame, Priest remains a genuine force in the genre.

Luke Grimes Delivers Sophomore Album ‘Red Bird,’ a Quiet and Uncompromising Country Statement

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Luke Grimes has spent years building two parallel careers with real credibility in both, and ‘Red Bird’ makes the strongest case yet that the music side is no side project. The 10-track sophomore album, produced by Grammy Award-winner Dave Cobb and out now via Range Music/MCA, was recorded between Georgia May Studio in Savannah and Nashville’s historic RCA Studio A. It’s a record that leans into classic country foundations, organic instrumentation, and Grimes’ steady baritone without reaching for anything it doesn’t need.

Grimes co-wrote the bulk of the project with Cobb and collaborators including Jessie Jo Dillon and Natalie Hemby, and he played acoustic guitar, percussion, and drums throughout. Tracks like “Drink Drink Drink” and “Haunted” sit with self-doubt and reckoning, while “Without You,” “A Little More Time,” and “Love You Now” move through commitment, loss, and presence. “Haunted” also appears in his new CBS series MARSHALS, creating a rare and genuine thread between his work on screen and in music.

Best known globally as Kayce Dutton on Paramount Network’s Yellowstone, Grimes now arrives in 2026 with both ‘Red Bird’ and MARSHALS in tandem. His debut catalog has already crossed 200 million global streams. This album moves with the confidence of someone done proving himself and focused on building something lasting.

‘Red Bird’ Tracklist:

High Rise Jeans

Come Home

Love You Now

Hummingbird

Drink Drink Drink

Love Me That Way

I’m Not Gonna Leave You

Without You

Haunted

A Little More Time

Florida Swamp Rockers Gunshine Drop Music Video for “Single Looks Good On You” Ahead of Album ‘Grand Rising’

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Gunshine have been rolling out ‘Grand Rising’ one strong single at a time, and “Single Looks Good On You” is the third and most immediate entry yet. The music video is out now, and the track itself is a gulf coast-flavored swamp rock anthem built for open windows and warm weather, hooky enough to stick after a single listen. It’s the kind of song that earns its place on a summer playlist without trying too hard.

The track was recorded in Vancouver with producer Brian Howes (Nickelback, Skillet, Hinder, Simple Plan) at The Armoury, then mixed and mastered by Chris Collier (Korn, Mick Mars, Whitesnake). The bulk of ‘Grand Rising,’ a 13-track full-length due digitally July 24 via vnclm_ / Create Music Group, was tracked in Las Vegas with Collier producing and mixing. “He has a great ear, and adds a heavy hitting production value that makes the songs sonically translate very well,” says guitarist and vocalist Austin Ingerman, who’s worked with Collier for nearly a decade.

Physical copies of ‘Grand Rising,’ including CD and double vinyl editions, are available now. The digital release follows July 24.

‘Grand Rising’ Tracklist:

Grand Rising

Finite

Goth Girl

Single Looks Good On You

My Oh Miley

Mystery

Man Down

Leave the Light On

I Know You Love Me

Capt’n Save a Hoe

Shark Lounge (feat. Michael Starr)

Valentine

Table Dancing