SubmitHub Reviews 1,004

Very time consuming, costly and disappointing. My guess is that most curators are relatively young and have a "modern" taste in music, whatever that may be, liking what is fashionable. Stay away from it when your music has a sense of depth or sounds different. It won't be picked up. Just as with similar services as Groover and Submitlink. I will never use these again and have meanwhile found far better ways.

I haven't been with Submit Hub long but they are a game changer, they have helped my music grow to exsposer and I've made some genuine connections with other brilliant artists.

There tools are so helpful like Hot or Not to gain constructive feedback from others and to test the waters for up and coming releases.

Pitching to others to get on playlists is a huge help and once you find the right fit and sound there is something for everyone for different tastes and sounds.

I can't thank them enough for their support and the agents are quick to response with any enquires raised which I've also found really helpful.

I’m really impressed with increase I’ve been experiencing in regards to my music getting real and valuable exposure and feedback. My content analytics were up 690 percent !! Thank you

Great experience on both sides.
As both a label owner and a curator, I find the interface very intuitive and the system very well-oiled. It’s the best way to manage submissions and build real connections in the industry. Highly recommended!

The approval percentage is very small. There is probably too much releases these days ...

Overall I think SubmitHub is a decent site and easy to use and gives opportunity for both promoters and artists. I fear that many of the promoters have become a little tired and bored and have used other sites where the energy seems more vibrant. The passion in which users bring to these projects seems to be dying at least from the promoters/influencers/bloggers side of things.

It’s been a long time since I released any music, particularly anything worth a real push. The way music is promoted now is very different, and while I knew what I needed to do, I didn’t know how to do it. When I first signed up for SubmitHub, I uploaded the song, fast-tracked my profile, and started submitting. THIS was a mistake.

You see, I didn’t realize yet that I wasn’t ready. These curators are real people constantly receiving new music. SubmitHub gives them fresh submissions with a bit of filtering. It’s my job to stand out and make them want to hear more. I needed to tighten up my profile, write sharper pitches, and actually take the time to research curator preferences.

This is where the helpfulness of the people running the ship really comes into play. If you want to know more about something, chances are HIGH that Tilly and/or Jason have written a guide to help you succeed. Sure enough, Tilly wrote a pitching guide over a year ago, and it’s incredibly helpful. It covers everything A-Z.

Submitting to curators is only one small, but important, part of SubmitHub. There’s so much more, and frankly, a lot of it is more helpful and powerful than access to curators alone.

On Christmas Day, I decided I wanted to run a Meta ad campaign. My own Pixel wasn’t working, and I wasn’t at my home computer. I noticed that SubmitHub will run ads for you if you just want help getting the word out. In fact, there’s ANOTHER complete guide written up. The site also allows you, at no additional cost, to design your own visualizer, which is very cool.

I assumed they’d get to it after the holiday. NOPE. Tilly from SubmitHub had everything up and running right away. That kicked off an email conversation where I asked dozens of questions. Tilly was patient and kind the entire time.

SubmitHub also offers free link creation, including Meta Pixel-compatible links, that are intuitive and genuinely helpful. I personally prefer them over my paid Feature and Hypped links.

Jason and Tilly have written extensively on just about everything you can think of to help YOU be successful. The Meta ads tutorial is the best-written tutorial out there, and the pitch guide is essential reading.

There’s more. Once I stopped obsessing over everything I needed to do for my own music, I started exploring the site. There’s a community of musicians chatting who are consistently kind, funny, and helpful. There’s also “Hot or Not,” which is simply a chance to give feedback to other artists on new songs. I was honestly blown away by how talented the musicians are. I started listening and giving honest, friendly feedback. If I didn’t like something, I just passed on reviewing it.

Do you know what a popularity score is? I didn’t. SubmitHub lets you track your song’s Spotify popularity score for free. Why does that matter? Tilly wrote an entire article explaining it. The short version: it helps determine what the algorithm does with your music.

There’s so much more I could say about my experience. Yes, curators can be maddening and frustrating. But over time, I’ve found some success getting placed. And once you get past the curator side of things, you’ll find SO MUCH MORE. The Meta ad campaigns alone are worth it if you don’t want to handle them yourself.

The people running this site, Tilly and Jason, genuinely want you to be successful and have a good experience. While I’ve never met them, they’ve been nothing but kind and helpful. I’ve asked countless questions, all of which were answered, and at this point, I feel like I know them.

Bottom line: SubmitHub is more than just a button you click to submit. It is what you make of it. And if you’re willing to put in the work and be kind, you’ll find a family of artists excited to meet you.

The audacity for this site to call another playlist payola while requiring you to pay to get credits to be on a playlist.

SubmitHub is the most high-quality, artist-centric platform for playlist submission I have used, with great dollar value to boot. It's hands-down my favorite platform to use for playlist placement that actually moves the needle and is authentic.

Submithub es una plataforma de confianaz y con una comunidad muy agradable.

Affordable prices and great service. All i need now for music promotion is SubmitHub . I can choose whoever i want to send my music to and the prices are really good so i can always send my music to multiple curators and influencers always.

Great service and clear communication, does what it say on the pack. Would recommend to friends

yeap absolutely the most useful website for independent artists who wanna market their music, Submithub provides you chances as long as you have amazing compositions

Submithub has been a game changer for the growth of my music career. As a producer and DJ, I've been able to amplify my music to fans. As a curator, its been amazing to hear such beautiful tracks over the last year since I started the playlist. Amazing platform for any artist looking to help build on audience on the DSPs.

Advice to fellow producers, spend the time listening/engaging with playlists before submitting across the board.

It is easy and a great way to work with bloggers, reviews and playlisters .....

From the Artist side Submithub gives you more informations such as engagement, average listeners that empowers you to submit to the best playlist that matches your genre.
From the curator side there is accountability and rating system that keeps curators in check.
Their meta ads feature has helped me reach tons of followers on my playlists. There customer support has been the most supportive I have experience out of any competitor.

SubmitHub is a scam that allows individuals to act as curators and collect submission fees without meaningful verification of their audience, engagement, or industry credibility. If the platform spent even minimal effort vetting the people it allows to take artists’ money, many of these issues would be immediately apparent. However, they allow 100% of the fake curators who have zero listeners.

Make no mistake, the issue here is not whether placements to these fake curators are “guaranteed.” That is a convenient distraction. The real issue is whether artists are being charged under a representation that implies legitimate promotional opportunity when, in many cases, that opportunity does not materially exist.

Labeling the payment as being “for time and feedback” rather than placement does not change the substance of the transaction. Artists are paying money for access to playlists and curators that are explicitly framed as discovery and promotion channels. When those playlists have negligible reach, minimal public presence, and no demonstrable audience engagement, the distinction becomes semantic rather than substantive.

Claims of “genuine engagement” miss the point entirely. Engagement limited to a few dozen or even a few hundred passive listeners offers no meaningful promotional value. In many cases, the curators or labels involved have no verifiable artist rosters, no active social media following, no live audience, and no discernible cultural footprint. That raises serious and legitimate questions about who these curators are and what influence, if any, they actually possess.

Longevity and volume are not substitutes for effectiveness. A platform can operate for ten years and process millions of submissions while still failing to deliver real discovery, sustained listeners, or career momentum. What matters is outcome, not throughput. For many artists, the promised exposure does not translate into any measurable growth.

The lack of a physical office is not disqualifying by itself. However, when combined with opaque curator identities, unverifiable reach, and questionable review patterns, it contributes to a broader transparency problem. Artists are asked to trust a system where the metrics that matter are either hidden, unverifiable, or conveniently undefined.

This is why so many artists walk away feeling misled. Not because they expected guaranteed success, but because the value proposition collapses under scrutiny. What is being sold is the appearance of opportunity, not its substance.

Artists should absolutely do their own research. My experience, and the experience of many others, is that this platform delivers the illusion of promotion without the reality.

Pros and Cons:
This website CAN potentially be a great way to connect artists to playlists. However, there are still a lot of bot playlists out there. Be careful. Take your time looking into each playlist. Are the genres consistent throughout the playlist? Does the projected streams per month reflect the amount of playlist followers? Any playlist with hundreds of thousands of followers is proooobably too good to be true. Instead, target the smaller curators. Spotify cares way more about engagement than it does being on a playlist. Spotify wants to see listeners staying engaged with the song, repeating the song, adding the song, following, etc. That being said, it takes a lot of time to sift through curators and find a good fit, and one that is genuine. I like to use 100 bucks or so per song. The rest of my money is better spent on social media ads.

The most transparent online playlist service.