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Free Spotify Playlist Submission Gate

Submit your songs for free to our small but growing Spotify curated playlist!

Are you looking to expand your audience?

Are you a musician who has songs on Spotify?

Here’s one of our free playlist submission gates where you can submit your songs to our playlist for free! Just click the link below or the image to go to the submission page!

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Warning: Do NOT work with The Adopted Outcast. He is transphobic.

Some of those musicians who are among us may have come across an artist named The Adopted Outcast – real name Bennett Smith. He is American and a regular user on SubmitHub.

IF YOU SUPPORT LGBTQ+ RIGHTS DO NOT WORK WITH The Adopted Outcast real name Bennett Smith.

He is completely against transgender rights, is transphobic, and he is a dangerous and exploitative individual. On top of this, he is always looking for ways to exploit other artists by offering his (not professional level) music production services in exchange for money. He acts friendly but he is an enemy of LGBTQ+ people EVERYWHERE, and his agenda is AGAINST us. Bennett is opportunistic and he is an enemy of LGBTQ rights and freedoms. I will happily provide proof and details to anyone who leaves a comment here. Here is his picture:

The Adopted Outcast a.k.a. Bennett Smith – transphobic and exploitative.

You can also feel free to ask him about it.

He openly admits this.

Here is who I am talking about on spotify:

The Adopted Outcast spotify profile

I do not make this accusation lightly. He is also a fundamentalist christian, which he uses to justify his treatment of transgender persons and his hatred, but his beliefs are his own. However so too are our beliefs in choosing to financially support someone who fundamentally does not respect LGBTQ persons whatsoever.

He is happy to exploit anyone for money.

But please realize that if you choose to work with him or hire his services for music production, you are supporting a person who has stated POINT BLANK that he does not believe transgender persons should have rights whatsoever.

Feel free to leave comments if you would like proof of this statement, I have saved extensive arguments and chats with this individual. Here is his picture as well so you don’t mistake him:

The Adopted Outcast aka Bennett Smith – an enemy of the LGBTQ movement and yet another person exploiting musicians during the pandemic.
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Looking to join the SubmitHub Discord group?

Here is an invite! This discord is for SubmitHub Artists and it facilitates more features than the SubmitHub chat room on the site – including collaboration via screen sharing, web video chat, a projects channel, and more! Join us on there! There’s even a place to self-promote your music. We look forward to seeing you there!

Updated the link April 30th, 2022 – the link now works. Sorry folks for any earlier problems!

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A review and discussion of SubmitHub, PlaylistPush and Musosoup: Music Promotional insights

As a 21st century music producer and recording artist, I have used all three services extensively, so here’s the scoop on all of them.

tl,dr: SubmitHub is the only one worth the money, but it rarely is and you better have serious GAME. Get ready to be humiliated.

This rant was originally shared in the artist chat room on

SubmitHub basics

I have a rant about in case y’all missed it.

And the music industry in general.

One of my regulars among the curators who – more often than not – accept my submissions, just re-accepted a previously accepted song that I  had sent them again because the song had expired the original 30 days time expired on their playlist.

That they re-accepted the track was not surprising, it was the amount of time it was accepted for this second time around – six months!

Here’s the kicker: being on this curator’s playlist got my song almost 4,000 streams that month.

So you just have to find curators here with high playlist listener engagement, and send them music suited so much to their audience’s tastes that it’s presence on their playlist is an asset to their listenership.

Developing regular symbiotic relationships with curators like the one I just described is a key element in finding success here on SubmitHub, and really I won’t lie, it’s not easy.

You have to dumpster dive the low quality curators – by either digging through their shit or by monitoring their playlist transformation and listenership engagement/audience size fluctuations over time, or you can be stupid like how I did it and waste a shit tonne of premium credits on attempting to connect with curators who were either not appropriate for my music (or vice-versa), and/or I wasn’t willing to admit that my music wasn’t completely ready yet.

You need flawless execution if what you’re composing, producing, mix/mastering and packaging and shipping is anything but revolutionary in its offering.

And let me tell you, even if it IS revolutionary you still need near flawless execution. 

And let me dismiss something from your thoughts right now: I don’t care how talented you are or think you are, what you’re writing?

It’s not revolutionary.

But that doesn’t mean you can’t have success! It just has to be impeccable.

Mozart your production, bitches.

Then track down mature curators who cut their playlists and audience from the same cloth, and offer them a yard of your material.

Eventually they will be ordering by the bolt, so to speak.

Playlist Push

Oh and P.S. do not bother with playlist push who charges you more to keep the wizard of oz behind the curtain.

Many of those curators there are in here too, and PP offers them MORE money to accept than decline.

So guess what?

Not only is that basically payola, but it taints them relationship building process that needs a more even benefit based on the actual VALUE of the “goods” exchanged – that is, playlist placement benefits their audience and benefits your artist development and income.

That’s what you want, not bribing curators like a mafia. 


And if you’re going to try to bring up musosoup, don’t bother.

It’s MOSTLY a cesspool of nouveau “music blogs” and “influencers” with audience sizes – and playlist likes – in single or double digits at most, who are gold rushing to get onboard curatorship with these aggrendizers.

They don’t give a shit about your music, they churn out “PR opportunities” without anything REMOTELY resembling fiscally soluble investment, so FORGET about ROI. The “free alternatives” they offer you almost always come with strings attached expecting you to leverage YOUR AUDIENCE to benefit THEM far more than you.

The free options are always castrated of anything remotely resembling value, ie “you’ll be put on a playlist no guarantee of where” (ie the end, and we all know that’s worth fuck all).

Then the paid options are overpriced and they evade any questions you ask them to help you compute the quantitative value of the offer to see if it’s worth it to spend the like 30 quid on a blog post.

Ask them to send you a snapshot of their weekly traffics and see what they say.

It’s an easy-as-cake and quick thing for them to do in the musosoup interface, but watch how they dodge the easy direct response.

You get diatribe about qualitative nonsense instead, sorry I’m not paying you to improve your copywriting skills at the expense of my music’s false appreciation just for a calculus of value in SEO and back links to your wet-behind-the ears shitty blog that you started two months ago just so you could build towards your dream of earning your living exploiting the saturated music production market with your internet noise pollution contribution to culture, technology and humanity.

I have larger concerns trying to say something meaningful.

Conclusion: Submithub

SubmitHub is the only place where a message like mine – and potentially yours – has any hope of being heard by the right tastemakers ears to bring that song to the audience meant to hear it.

You gotta work your ass off, though.

And for fucks sake grow a pair most of y’all (not the regulars in here obvi) and learn some humility first.

Your music will be shit garbage before it’s hot shit – and garbage for a LONG time before it’s even remotely good.

Persist, but remember that.

I don’t care if you think otherwise, you’re wrong, that’s the truth, and I STILL make mostly shit garbage music.

I work hard and tirelessly, and if you do too the way I detailed and one day you can hope to maybe be on the world charts on here for all-time for one of the major genre families, or more than one like I am – and you too will be able to bask in the riches you’ll have earned with blood, sweat and tears and moola, like the $40 or so I make monthly from Spotify (when they pay me, they don’t always);

I mean that’s enough to pay almost half a cell phone bill; or a couple of movie theatre tickets (I mean, like when they re-open them and stuff.)

Sounds crazy but ya gotta dream big!

Why listen to me?

I’m a charting artist on SubmitHub.

For all-time, all genres in my country of Canada, I’m #34 with my song Dark Addiction.

Then for all countries, all-time I also rank in 3 major genres and 1 subgenre.

For the Classic genre, I rate at number #9 with Dark Addiction.

For IDM / Downtempo, I rate at #43 with The Ringing of the Bells (Echo Twelve Remix).

And then in the sub-genre of Synthwave (Under the major genre group of Blogwave), I rank at #10 with Neon Delorean.

In the sub-genre of Noise / Harsh Noise Wall, I have two songs ranking for all time: #10 We Are Not Gods Again and #14 The Dark Vastness of Space.

Check out the Popular charts link at the top of the menu on and you’ll see me there if you choose the parameters mentioned above!

This has made me enough money from the streams across almost a year to maybe afford one nice meal at a medium price restaurant. That’s about it. Like less than $100. Spotify does not pay well. Apple Music pays much better.