Spotify tried to address this matter in July, releasing a feature on its artists’ platform that lets musicians and labels upload unreleased tracks for consideration on playlists managed by Spotify editors.
Artists can’t pay to get on one of the 4,500 in-house playlists that are served up to the streaming service’s 170 million monthly active users. The most important one: None of these curators are employed by Spotify. But if the curator thinks it will mesh with the rest of their playlist, they’ll add a song, potentially exposing the artist to thousands of streams, one by one increasing their popularity and royalty payouts.
Either way, they’ll give the artist constructive feedback on the composition of the tracks. The curators, paid by the pitching companies, review the songs themselves, deciding if it’s good fit for their playlist. The companies review the tracks and, if deemed the right fit, pass them along to a network of curators within the appropriate genre. Artists pay these firms for a campaign, which can cost hundreds of dollars. This burgeoning industry does what is known as “playlist pitching.” That is, companies pitch an artist’s music to curators with popular playlists on Spotify. If you have money, a new crop of companies will offer a shortcut. Anything to generate buzz and consideration on a playlist like Rap Caviar, which boasts nearly 10 million listeners and can add hundreds of thousands of streams to an artist’s song.īut all of that can take time. The traditional route: Promote on social media. It’s no longer a secret how important Spotify playlists can be to an up-and-coming recording artist, but the means for which an artist can get a song’s placement on those playlists remains a bit murkier. In other words, streaming killed the radio star.
0 kommentar(er)
