Apple Music Curator Email and Pitch Templates | TAP
Apple Music pitch email templates
By TAP Editorial Team
Quick answer
Apple Music editorial curators do not publish email addresses, so a bought list of Apple curator emails is not real. Editorial pitches go through your distributor's pitch field or the Apple Music for Artists pitch tool. The Apple Music playlists that do have a contact are the ones made by labels, blogs, stations and individual curators, who publish an address on their own page.
There is no Apple Music curator email address to find. Apple's editorial team does not publish one and does not take cold pitches, so anything sold as a list of Apple curator contacts is either invented or made of personal addresses nobody offered for pitching. Two routes are real. The first is the pitch field your distributor passes to Apple, or the Apple Music for Artists pitch tool, which takes a short piece of free text and gives you one submission per track. The second is the independent playlists on Apple Music, made by labels, blogs, stations and individual curators, who publish an address on their own site, Linktree or Bandcamp page because they want submissions. To find one of those, read the playlist description, open the owner's profile, and follow the link out to the page at the end of it. Before you write, reopen that page and check the address is still on it, that the page carries a recent date, and that the same person still runs the playlist. Keep the source page and the date beside every address you save. The templates below cover both routes: the submission text that goes into the pitch field, and the note that goes to a curator who published an address. Every one is written to be sent by the artist, so cut anything you cannot say honestly rather than filling it in.
Editorial Submission Text: New Release
The free-text pitch that goes into your distributor's Apple pitch field or the Apple Music for Artists pitch tool, submitted once per track before release
[TRACK TITLE] is out on [DATE]. [ONE SENTENCE: the genre and the closest reference artist, stated plainly]. [ONE OR TWO SENTENCES: the concrete thing that makes the record what it is, such as the production, the players, where it was recorded, what it is about]. [CREDENTIALS, only real ones: previous placements, radio play, press, streaming history with the actual number]. [IF TRUE: a Dolby Atmos master has been delivered]. Closest fit in your programming is [PLAYLIST NAME].
You get one submission per track and it cannot be edited, so write it before release week. Lead with genre and reference artist, because that is what the reader is sorting by. Every claim in it should be one you could show evidence for.
Independent Curator Pitch: Published Address
A note to a curator whose Apple Music or cross-platform playlist you found, sent to the address published on their own page
Hi [CURATOR NAME], I found [PLAYLIST NAME] through [WHERE YOU FOUND IT] and the submissions address on [PAGE]. My track [TRACK TITLE] is out on [DATE]. It sits close to [SPECIFIC TRACK ALREADY ON THE PLAYLIST] for [THE SHARED QUALITY, in one clause]. [ONE SENTENCE: what the record is, told concretely]. Link here: [STREAMING OR PRIVATE LINK, in the format the page asked for]. No attachment. Thanks for reading.
Naming the page you took the address from shows you read the submissions policy rather than bought a list, and it is the single fastest way to look different from the rest of that inbox. Follow the format the page asked for exactly.
Apple Music Radio Show: Pitch Through a Published Route
Pitching a track to an Apple Music radio show or presenter where the show publishes a submissions route, which is a different door from playlist editorial
[TRACK TITLE] is out on [DATE]. [ONE SENTENCE ON THE SHOW: the strand it fits, the recent play it sits alongside, the theme the show keeps returning to]. [ONE SENTENCE ON THE TRACK: the production detail, the story, or the moment worth playing]. [IF RELEVANT: where I am based, and anything happening live]. Stream here: [LINK]. Happy to record a short session or answer questions if that is useful.
Only use a route the show has published. Reference something specific the show actually played rather than the presenter's name in isolation, and keep the whole thing under a phone screen.
Second Release After Editorial Support
Submitting a new track when a previous release already had an Apple placement or radio play
[PREVIOUS TRACK] was added to [PLAYLIST OR SHOW] in [MONTH]. The new one, [TRACK TITLE], is out on [DATE]. [ONE SENTENCE: what has changed musically since the last release, in concrete terms rather than as growth language]. [WHAT FOLLOWED THE LAST PLACEMENT: streams, saves, shows, coverage, with real numbers]. Closest fit is [PLAYLIST NAME].
Prior support is checkable inside the same system the reader is using, which is what makes it worth a line. Say what changed rather than asking for a repeat.
Spatial Audio Emphasis
When a Dolby Atmos mix exists and adds something a reader can hear, not as a filler line
[TRACK TITLE] is out on [DATE] with a Dolby Atmos mix. [ONE SENTENCE: who mastered it and what the spatial mix does that the stereo one cannot, such as where the vocal sits or how the room opens up]. [ONE SENTENCE on the track itself]. Closest fit is [PLAYLIST NAME].
Only claim this if the Atmos master is delivered and correct. Vague words about immersive sound persuade nobody. Say what the mix does.
Session or Interview Availability
Offering yourself for a session, interview or station visit alongside a release, where the show or curator has published a route for it
[TRACK TITLE] is out on [DATE] and I am around for [SESSION, INTERVIEW OR VISIT] during [DATES]. I can talk about [TWO OR THREE CONCRETE SUBJECTS: how the record was made, what it is about, the scene it came from]. [IF TRUE: live dates, or a stripped-back version I can play]. Stream here: [LINK]. Tell me what suits your schedule.
Offer only what you can deliver on the dates you named. Access is worth more than adjectives, and an unkept offer costs the relationship immediately.
First Approach With No History
A self-releasing artist with no prior Apple support, submitting through a distributor and writing to independent curators at the same time
[TRACK TITLE] is out on [DATE], self-released. [ONE SENTENCE: genre and closest reference artist]. [WHAT IS TRUE SO FAR: monthly listeners, a playlist add, a radio play, a review, with the actual numbers, or nothing at all if that is the truth]. [ONE SENTENCE: why this playlist specifically, pointing at a track already on it]. Link: [STREAMING LINK].
Honesty travels further than borrowed weight here. A first release with no history and a clear reason for the fit reads better than inflated credentials that come apart on a click.
Follow-Up With Real Movement
Coming back to a curator after the release has evidence behind it, not simply following up
[TRACK TITLE] came out on [DATE]. Since then: [SPECIFIC MOVEMENT: a playlist add and where, streams over a stated period, radio play on a named show, a review with the outlet named]. [ONE SENTENCE: what the listener behaviour suggests, such as repeat listening or a particular territory]. Sending it once more for [PLAYLIST NAME] in case the timing works better now.
Only use real numbers you can back up, because they are checked. New information is a reason to write again. Silence plus a reminder is not.
Frequently asked questions
What is the Apple Music playlist curator's email address?
There is not one. Apple's editorial curators do not publish addresses and do not accept cold email, so any list sold as Apple curator contacts is invented or scraped from places that never invited pitches. Your pitch reaches Apple through the distributor pitch field or the Apple Music for Artists pitch tool. The independent playlists on Apple Music are a different matter, and those curators publish a contact route on their own pages.
How do I find the contact for an independent Apple Music playlist?
Read the playlist description, open the owner's profile, then follow the link out to their site, Linktree, Bandcamp or blog, where the submissions address sits with a policy beside it. Before writing, reopen that page, confirm the address is still printed there, check the page carries a recent date, and confirm the same person still runs the playlist.
Is a bought curator contact list ever worth it?
No. Bulk lists are scraped once and resold for years, so they carry people who moved on, playlists nobody maintains and dead boxes that damage your deliverability on every later send. A contact worth keeping is one whose source page you can open today and read the same address on. TAP keeps a shared contact pool tagged by genre where every contact carries that source page and the date it was checked, and the first release is free.
How far in advance should I submit to Apple Music editorial?
Get the submission in as early as your distributor allows, and at least two weeks before release. Four to six weeks is better, because it gives the pitch a full editorial cycle rather than the tail of one. You get a single submission per track with no edits, so early and correct beats early and rushed.
Do I need a label to pitch Apple Music editorial?
No, you need a distributor. Apple takes editorial submissions from partners rather than from individual inboxes, and every major distributor passes a pitch through. Ask yours whether it submits automatically for every release or waits for you to request it, and what the cut-off is before your date is locked.
How do I follow up without becoming a nuisance?
For a distributor submission there is nobody to follow up with, so treat silence as the normal outcome. For an independent curator who published an address, one short follow-up after a fortnight is fair and a second is not. Real new movement, a playlist add elsewhere or a review, is a reason to write again. A reminder on its own is not.
From the field
Proof points
- Best UK send window: Tue/Wed 09:00-10:00 UK (Across 60+ campaigns)
- Optimal follow-up cadence: +7 days from initial pitch (Liberty internal data)
- Reply visibility blind spot: Stations add to rotation without replying (WARM monitoring vs email reply rate)
What actually happened
Roam Belle: 96 plays across UK regional and community stations. Named-contact approach, declining curve in week 5. (Spring 2025)
Apple Music's editorial team is smaller than Spotify's and the bar for inclusion is higher. Genre-specific playlists are where independent acts land first. I pitch the curator, not the platform, and I lead with the show fit in plain English. Apple does not reward press kit volume. They reward a tight one-paragraph note that names the playlist and the reason.
Chris Schofield, Radio plugger, Liberty Music PR
Related resources
Further reading
- TAP Blog — In-depth guides, comparisons and advice for independent artists running their own promotion.
- UK Music — The voice of the UK music industry, representing labels, publishers, and collecting societies.
- Music Week — Industry news, charts, and analysis for music professionals.
- The Music Network — Global music business intelligence and networking.
Get your free release plan in 60 seconds
Tell TAP your track and release date. It builds your 4-week timeline, drafts personalised outreach for your contacts, and tracks replies in one place. First release is free, no card required.