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Apple Music Playlist Submission Checklist | TAP

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Apple Music Playlist Submission Checklist | TAP

Apple Music editorial pitch checklist

Updated 9 September 2026

By TAP Editorial Team

Quick answer

Apple Music editorial curators do not publish email addresses and do not accept cold pitches, so no list of Apple curator emails is real. Editorial submissions go through your distributor's pitch field or the Apple Music for Artists pitch tool, at least two weeks before release. Contact addresses do exist for independent playlists, radio shows and blogs, and those are published on their own pages.

Apple Music editorial curators have no public email address, and any list sold as one is invented. Editorial pitches reach Apple through your distributor's pitch field or the Apple Music for Artists pitch tool, submitted well before release, and they are read alongside everything else arriving that week. Independent playlists are the opposite: those curators publish an address because they want submissions. This checklist covers both routes, what to prepare, and how to check any contact you find before you use it.

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The Route In: What an Apple Music Contact Actually Looks Like

Accept that there is no Apple editorial email address to find
Critical
Apple does not publish curator addresses, does not run a public pitch inbox, and does not take cold email. Sites selling 'Apple Music curator emails' are selling either invented addresses or personal ones that were never offered for pitching. Nothing you send to those gets you closer to a playlist.
Use the pitch field your distributor gives you
Critical
Apple takes editorial submissions from partners, which in practice means your distributor. Every major distributor carries a pitch field or a submission form for Apple, and some submit automatically while others need you to ask. Find out which yours does before your next release date is set.
Submit early, not in release week
Critical
Give the pitch at least two weeks ahead of release, and more if your distributor allows it. Apple considers late submissions on a shorter window, but the earlier a track is in front of the team, the more of the editorial cycle it can still be placed into.
Pitch the Apple Music radio shows through their own channels
Apple Music 1 and the station shows are presenter-led, and hosts and producers are named publicly. Where a show or presenter publishes a submissions route, that route is real, and it is a different door from playlist editorial. Nothing about it is a shortcut into a playlist.
Find published addresses for the independent playlists instead
Critical
Alongside Apple's own playlists sit playlists made by labels, blogs, stations and individual curators. Those are reachable. Read the playlist description, open the owner's profile, and follow the link out to a site, Linktree or Bandcamp page carrying a contact address and a submissions policy.
Tell a submission address apart from a personal one
Critical
submissions@, demos@ and a published form exist for this. An address guessed from a name pattern or pulled from a shared spreadsheet does not, and using it costs the relationship you wanted. Take the published route first every time.
Keep the source page and the date beside every address
Critical
One line per contact: the address, the page you took it from, and the date you read it. Without the date you cannot tell a live contact from a copy of a copy, and the next release starts from guesswork again.

Checking a Contact Before You Send

Reopen the page the address came from
Critical
Load it and confirm the address is still there, with nothing new alongside it: a different name, a closed submissions window, a note that the playlist has stopped. An address that has sat in a spreadsheet since last year has been verified by nobody.
Look for a date on the page
Critical
A footer year, a last-updated line, the newest post, the date of the most recent track added. A blog that stopped publishing two years ago is not reading its inbox, whatever address it still displays.
Confirm the person still runs the playlist
Match the owner name on the playlist to the name on the page you found, read the recent adds against the description, and check their social account for a handover. Writing to the previous curator by name is worse than writing to nobody.
Avoid the general boxes nobody owns
info@ and contact@ at a busy outlet route to whoever is free, which for one release is nobody. Prefer a named editor, producer or curator, or an address created specifically for submissions.
Do not buy a curator contact list
Critical
Bulk lists are scraped once and resold for years. They carry people who left, playlists nobody maintains, addresses harvested from pages that never invited pitches, and dead boxes that cost you deliverability on every send afterwards. A checked contact is one whose source page you can open today and read the same address on.

Pre-Pitch Preparation & Artist Positioning

Confirm artist story and positioning angle
Critical
Write a 2–3 sentence narrative that explains who you are and why this track matters now. Apple's editorial curators read dozens of pitches daily: they need context that connects you to listener interests or cultural moments, not generic genre descriptors.
Audit your existing Apple Music presence
Check streaming numbers, playlist history, listener geography, and any existing editorial placements. This data informs whether you're pitching for discovery playlists or catalogue support, and shows editors you understand your current trajectory.
Work out which route your release actually has
Critical
Apple editorial contact details are not published, so the route is your distributor's pitch field rather than an editor's inbox. Check what your distributor supports, whether it submits every release automatically or waits to be asked, and what its deadline is. That single answer decides your pitch timeline.
Research target playlists and radio shows
Know whether New Music Daily, a genre-specific playlist (e.g. British Soul, Breaking Alternative), or an Apple Music 1 show rotation is the best fit. Different editors control different playlists, and pitching to the wrong person wastes everyone's time.
Determine if Spatial Audio mix is ready
If you have a Dolby Atmos or Spatial Audio master, confirm it was created in a professional facility and that you have signed it off. Apple actively promotes this content, and having it available strengthens a pitch significantly.
Set a realistic pitch window (4–6 weeks pre-release)
Critical
Pitching too early means editors forget before release; too late means they've already committed playlist slots. Aim for 4–6 weeks advance, aligned with label communications and any press campaign timeline.

Metadata & Technical Requirements

Verify complete and correct metadata before submission
Critical
Check track title, artist name spelling, songwriter/producer credits, release date, ISRC, and genre tags in your distributor dashboard. Incorrect metadata gets rejected at editorial intake or causes playlist placement delays.
Ensure track is delivered in Hi-Res and standard formats
Apple supports up to 24-bit/192kHz lossy codec masters. Confirm your distributor has both Hi-Res and standard MP3/AAC versions uploaded; editorial staff may preview at different quality levels.
Upload Spatial Audio master separately if available
If you have a Dolby Atmos version, ensure it's been delivered to your distributor as a distinct file with proper metadata labelling. Apple's system needs to recognise it as Spatial Audio to trigger editor notifications and playlist tagging.
Include audio fingerprinting and content ID data
Your distributor should handle this automatically, but verify that the track has been registered in Apple Music's system before your pitch lands. This prevents playlist holdups due to rights clearance delays.
Confirm artwork meets Apple's specifications
Critical
3000 × 3000px minimum, RGB, no filters or clipping text. Artwork needs to be final before pitching; changes post-submission can delay processing.
Add strategic keywords and mood tags in distributor metadata
Use your distributor's metadata fields to add searchable keywords (e.g. 'introspective', 'urban', 'female vocal'). These help Apple's search and playlist-matching algorithms surface the track to relevant curation teams.

Pitch Materials & Narrative

Prepare a one-page pitch document (PDF)
Critical
Include artist bio (150 words), track summary (2–3 sentences), streaming/social metrics, and key playlist/radio history. Format cleanly; editors scan these rapidly. Attach as PDF, not embedded in email.
Write a compelling subject line and pitch email
Critical
Lead with the most newsworthy element: a cultural hook, artist milestone, or playlist relevance. Example: '[New Track] [Artist Name]: Why This Matters for New Music Daily' rather than generic 'Pitch for Review'.
Highlight Spatial Audio availability in the pitch
If a Dolby Atmos mix exists, mention it prominently in the pitch email and PDF. Apple actively surfaces Spatial Audio content on platform homepages and in editorial notes, making this a real editorial advantage.
Include 2–3 comparison tracks or sonic references
Name existing Apple Music artists or tracks that share production style, mood, or lyrical tone. This helps editors immediately contextualise the sound and determine which playlists it fits.
Provide direct Spotify/Apple links, not cloud files
Critical
Send clickable links to the pre-save or existing catalogue version. Avoid Dropbox or WeTransfer links unless specifically requested; editors prefer native platform streaming for quality assessment.
Create a brief media/press sheet if relevant
If you have confirmed press placements, interview series or festival performances, include a one-paragraph summary. This contextualises the release and shows editorial momentum.
Prepare artist quote and background for editorial notes
Apple Music playlists often include curator or artist commentary. Have one or two quotes ready about what the track means; editors may request these for playlist descriptions.

Relationship & Editorial Strategy

Know Apple Music 1 vs. playlist strategy differences
Apple Music 1 rotations are radio-driven and personality-based: they favour artists with existing profile or strong hooks. Playlists (New Music Daily, genre-specific) focus on sonic fit and discovery potential. Pitch differently depending on which you're targeting.
Personalise the pitch to the specific editor or team
Critical
Research the curator's taste by examining playlists they've programmed and any public interviews or social posts. Reference a specific reason why you fit their aesthetic. Generic pitches are deleted.
Mention any Apple history you already have
Previous editorial adds, an Apple Music 1 play, or a Spatial Audio release already on the platform are worth a line. It gives the reader something checkable in the same system they are reading you in.
Pitch one target per track and say which it is
Critical
You get one editorial submission per track, so name the playlist or show it is for rather than hedging across three. A pitch that reads as a broadcast to everyone tells the reader you have not decided where the track belongs.
Plan follow-up timing carefully
Wait 7–10 days after initial pitch before sending a gentle follow-up. If no response after a second follow-up, accept the decision and move on. Pushing past three touchpoints damages future relationships.
Maintain relationship even after rejection
If the pitch doesn't land, ask for brief feedback (when appropriate) and keep the editor informed of future releases. Apple Music editors remember persistent, professional pitchers: a 'no' today doesn't mean 'no' forever.
Position around Apple's seasonal editorial themes
Apple plans seasonal editorial campaigns well in advance, and a track that fits an upcoming theme has an obvious home. Read the playlist titles Apple has run in the same period in previous years, then write the pitch so the fit is stated rather than implied.
Treat your distributor as the relationship you have
Critical
Self-releasing means the distributor is your route to Apple, so the useful relationship is with their support team rather than with Apple. Ask what they submit, when, and what fields they pass through. Some carry a Spatial Audio flag and a genre field that go straight into the pitch.

Timing & Release Coordination

Confirm pre-release access for Apple Music editors
Critical
Provide a direct pre-save or streaming link to the unreleased track at least 2 weeks before release. Editors won't consider a track they can't preview independently.
Time major press announcements for maximum editorial impact
If you have a major interview or press placement scheduled, align the Apple Music pitch with that timeline. Editorial teams are more likely to champion tracks with supporting media momentum.
Plan for Apple's playlist refresh cycles
New Music Daily and genre playlists refresh on Fridays (typically). If pitching for immediate rotation, target submission for the Wednesday before. Missing the cycle can delay consideration by a full week.
Coordinate European and UK timing differences
Apple Music releases in the UK often differ by time zone from US releases. Confirm exact release timing with your distributor and pitch accordingly; UK editorial may process playlists on a different schedule.
Avoid pitching during major platform release events
Apple Music editorial teams are stretched during launch weeks for major artists (e.g. new Beyoncé, Taylor Swift albums). Pitch smaller artists the week after major releases for better attention.
Plan post-release follow-up if placement doesn't happen immediately
If the track launches without an editorial placement, wait 2–3 weeks then pitch again with updated streaming data and any social traction. Sometimes tracks gain momentum post-release and earn late-stage playlisting.

Quality Assurance & Launch Confirmation

Conduct final audio quality check before pitch submission
Critical
Listen to the master on multiple speakers/headphones. Check for any clipping, distortion, or mixing imbalance. A technically flawed track will be rejected immediately, regardless of song quality.
Verify Spatial Audio compatibility and encoding
If submitting a Dolby Atmos master, have it validated by a professional who's worked with Apple Music's specifications. Improperly encoded Spatial Audio files get flagged and rejected.
Test metadata display across Apple Music platforms
Check how the track appears on Apple Music web, iOS, macOS, and Apple Watch (if applicable). Spelling errors, missing credits, or incorrect genre tags will be visible to editors during review.
Confirm distributor has uploaded all format variations
Verify your distributor's dashboard shows the standard version, Hi-Res version (if applicable), and Spatial Audio version (if applicable) as separate, properly labelled files.
Read the pitch back against your own release plan before it goes
Critical
You get one submission per track and it cannot be edited, so check the narrative, the timing and the target playlists against your release plan first. A pitch that contradicts your press angle or names the wrong release date wastes the only shot that track has.

Apple rewards a submission that is early, honest about the fit, and sent through the one route that exists, alongside pitches to the independent curators who do publish an address. Keep the source page and the check date beside every contact you gather, and the next release starts from a list you can stand behind. TAP keeps a shared contact pool tagged by genre where every contact carries the page it came from and the date that page was checked, and the first release is free, so you can read the ones for your genre before paying for anything.

Pro tips

1. Apple Music editors control both radio (Apple Music 1) and playlists: understand which team you're pitching to. Radio placements are personality-driven and favour existing artist profile; playlists reward sonic fit and fresh discovery potential. Different editors, different logic.

2. Spatial Audio availability influences editorial decisions at Apple. If you have a Dolby Atmos mix, it's a legitimate competitive advantage: mention it prominently and ensure it's technically correct. Apple actively surfaces this content on homepage and in playlist notes.

3. Relationship continuity matters more at Apple Music than at most streaming platforms. An editor who rejects one pitch remembers you for the next one if you've been professional. Poor follow-up or aggressive re-pitching burns bridges faster than any other mistake.

4. Track the actual release and playlist appearance manually: don't rely solely on data dashboards. Apple's backend sometimes delays playlist tagging by 24–48 hours. Direct verification prevents you from over-panicking or claiming a miss when placement actually happened.

5. Work backwards from Apple's editorial calendar. Look at the playlist titles Apple ran in the same weeks of previous years, seasonal collections included, and position the pitch around the theme your track already fits. Timing a submission to a theme Apple has already planned is worth more than any amount of pitch length.

Frequently asked questions

What is the Apple Music playlist curator email address?

There is not one. Apple's editorial curators do not publish addresses and do not take cold pitches, so any list sold as Apple curator emails is either invented or made of personal addresses nobody offered for pitching. The real route is your distributor's pitch field or the Apple Music for Artists pitch tool. Independent playlists on Apple Music are a different matter, and those curators do publish contact details on their own pages.

Can I pitch Apple Music editorial without a label?

Yes, through your distributor. Apple takes editorial submissions from partners rather than from individual inboxes, and every major distributor passes a pitch through for you. Ask yours whether it submits automatically or waits for you to request it, and what its cut-off is, because you get one submission per track and no chance to edit it.

What's the difference between pitching New Music Daily and a genre-specific playlist?

New Music Daily is broad, high profile and programmed centrally, so placements reach a large but loosely targeted audience. Genre playlists have smaller and more committed listeners and are programmed by specialists with firm preferences. For most independent releases a genre playlist is the realistic target and the better one, because the listeners who find you there stay.

How important is Spatial Audio for editorial placement?

Useful, not required. Apple promotes Dolby Atmos content through homepage features and playlist notes, so a Spatial Audio mix helps. A strong track without one is still considered. Treat it as a tiebreaker rather than a gate, and only mention it if the mix is technically correct.

How long should I wait for a response after pitching?

Editorial submissions through a distributor usually get no reply at all, so treat silence as the normal outcome rather than a rejection. Where you have pitched an independent curator directly and they publish a response time, respect it. One polite follow-up after a fortnight is reasonable, and a second is not.

Should I pitch a track that has already been released elsewhere?

Yes. Apple considers tracks at any point in their life, and a release with existing momentum can be more appealing because the audience interest is already visible. Make sure the pitch leads with what has changed since the original release rather than repeating the launch note.

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

Eyes Glued, BBC Radio 6 Music: 153 plays across 6 weeks, accelerating in week 4. Track-led pitch with a single playable line. (March 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

Apple Music 1 radio and Zane Lowe strategy: A Practical Guide

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Apple Music pitch email Templates

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