Deezer Playlist Submissions: Who to Contact | TAP
Deezer editorial playlist pitching guide
By TAP Editorial Team
Quick answer
Deezer editorial pitches go through Deezer for Creators in the artists.deezer.com dashboard, where you choose playlists and territories. Deezer's editorial staff do not publish pitch addresses, so guessing one from a name pattern is not research. Contact addresses do exist for the independent and partner playlists on Deezer, published on the curator's own site, profile or contact page.
Deezer editorial submissions run through one tool, Deezer for Creators inside the artists.deezer.com dashboard, and the editorial staff behind the platform's own playlists do not publish addresses for pitching. What can be contacted directly are the independent and partner playlists on Deezer, whose curators publish a route on their own pages. This guide covers how Deezer's editorial teams are organised by territory, where a real contact is found, how to check it, and how to time a submission so it lands inside the right refresh cycle.
Where a Deezer Playlist Contact Actually Lives
Start with the playlist itself. Deezer playlist pages name an owner, and independent and partner playlists link out to a label, a blog, a radio show or a curator's own page, which is where a submissions address sits alongside whatever policy the curator has written. Editorial playlists owned by Deezer are different: they are programmed by staff whose addresses are not published, so the route is Deezer for Creators, not an inbox. The same logic applies to any playlist you are researching on Spotify or Apple Music. Read the description first, follow the owner's profile to the page at the end of it, and use the address printed there rather than one assembled from a company domain and a guess at the naming convention. A guessed address is not a contact: it is a message to somebody who never asked to receive it, sent from a sender reputation you need for the pitches that count. Keep one line per contact recording the address, the page it came from and the date you read that page, because a contact with no date behind it is a copy of a copy.
Tip: If a playlist description says how to submit, that instruction outranks every other route, including a personal address you happen to have found.
Checking a Contact Before You Send
Reopen the page the address came from and read it again on the day you plan to write. Confirm the address is still printed there and that nothing beside it has changed: a new name, a closed submissions window, a note that the playlist has moved or paused. Look for a date, whether that is a footer year, a last-updated line, the newest post on the site or the most recent track added to the playlist, because a page that stopped being maintained two years ago is not an inbox anybody opens. Confirm the same person still curates the playlist by matching the owner name against the page you found and reading the recent adds against the stated theme. Prefer a named editor or curator to a general enquiries box, which at a busy outlet routes to whoever is free and for a single release is nobody. And do not buy a curator list. Lists sold in bulk are scraped once and resold for years, so they carry people who left the job, 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 see the same address on.
Tip: Two minutes on the source page before sending saves the bounce, the wrong name and the reply that says the person you wrote to left in 2024.
Deezer's Editorial Structure and Team Geography
Deezer's editorial teams are regionally organised rather than centralised. The company operates dedicated editorial units in France, Germany, and Brazil: its strongest markets: with smaller editorial capacities in the UK and other territories. This structure means that UK-focused pitches may route through different teams than European campaigns, and response times and playlist availability vary by region. Deezer's editorial playlists are managed by genre specialists who typically oversee both playlist curation and editorial content. Unlike Spotify, where multiple teams may touch a single pitch, Deezer's smaller team means pitches often reach decision-makers more directly. However, this also means fewer opportunities per team member and potentially higher selectivity. Understanding which territory your profile and listener base sit in is critical: a UK artist with strong French streaming already builds use for editorial consideration in the France-based team.
Key Deezer Editorial Playlist Categories
Deezer's editorial playlists fall into three main tiers: flagship playlists (Discovery, New Music, and genre-specific curation playlists like 'Urban Hits' or 'Indie Generation'), regional editorial playlists tailored to country-specific listeners, and thematic playlists aligned to seasons, moods, or cultural moments. Flagship playlists typically receive thousands of pitches monthly and are the most competitive. Regional playlists offer more realistic placement opportunities for emerging or mid-tier artists, as they receive fewer submissions but still drive respectable listener numbers. Deezer also manages editorial partnership playlists, which are co-curated with external partners or brands and may require different approval processes. Genre playlists are usually the most responsive tier for an independent release, as they maintain clear curatorial standards and have rotation schedules that create frequent update windows. Priority genre categories include Pop, Indie, Hip-Hop, R&B, Electronic, and Alternative: territories where Deezer sees strongest engagement.
Accessing Deezer for Creators and the Pitch Process
Deezer for Creators is the platform's direct submission tool, accessible through the Deezer for Artists dashboard (artists.deezer.com). Unlike Spotify for Artists, which has a integrated pitch tool, Deezer's submission system requires manual setup: you upload the track metadata yourself, create pitch submissions through the dashboard, and target specific playlists by region. The interface is less intuitive than Spotify's, and response timeframes are typically 2–3 weeks, though editorial playlists often operate on pre-planned release schedules, meaning pitches submitted weeks in advance may not receive consideration until the next playlist refresh cycle. The Deezer for Creators submission tool allows you to select multiple territories and playlist types, but you cannot target individual curators directly through the platform. For serious editorial campaigns, direct research into individual curator contact details (available through artist dashboards, LinkedIn, or industry databases) can complement platform submissions and increase visibility. Expect patience to be part of the deal. Deezer editorial placements are worth having and they move on the platform's own timetable, not on your release schedule.
Regional Targeting and Listener Market Strength
Deezer's editorial reach is unevenly distributed geographically, which fundamentally shapes pitch strategy. France and Brazil are Deezer's core markets, with substantial editorial budgets, regular playlist rotations, and high listener quality. The benelux region (Netherlands, Belgium, Luxembourg) also maintains solid editorial infrastructure. Germany's market is growing but less established. The UK represents a secondary market for Deezer, where editorial teams are smaller and listener acquisition is more competitive against Spotify and Apple Music. If you are UK-based, be honest with yourself about these geographic realities before you judge the result. A track that performs exceptionally in France may legitimately outperform UK performance on Deezer, even if you are UK-based. Conversely, for artists with existing traction in France, benelux, or Brazil, Deezer editorial placements can be disproportionately high-value. Build campaigns around Deezer's strength zones: if you appeals to French listeners or French house/electronic audiences, Deezer placement becomes tier-one priority rather than a secondary push.
Researching and Contacting Deezer Editorial Curators
Deezer's editorial team is smaller than Spotify's and organised by territory, which makes it easier to work out who programmes the playlists you care about. That research is worth doing, and it stops at the point where it would turn into guesswork. Curator names appear in playlist descriptions and in press coverage, and a LinkedIn profile will confirm whether the person still holds the role and which territory they cover. What you should not do is turn a name into an address by pairing a company domain with a common naming convention. That address was never published for pitching, and a message to it is an unsolicited email to somebody's work inbox. Use the name to target the right playlist and territory inside Deezer for Creators, and to write a submission that shows you know whose brief it fits. Where a curator does publish a route, on their own site, a Linktree or an outlet contact page, that route is real and personalisation matters: reference the specific playlist, explain the fit in one paragraph, and stop there.
Tip: Knowing the curator's name improves the submission you make through the official tool. It does not create an address that Deezer has chosen not to publish.
Timing, Release Strategy, and Playlist Rotation Windows
Deezer editorial playlists operate on fixed refresh schedules, typically updating weekly or bi-weekly rather than continuously. Submitting a pitch the day before a playlist refresh is near-useless; understanding a playlist's update calendar is essential for strategic timing. Most editorial playlists publish their refresh schedule in description fields or on curators' social accounts. For new releases, pitching should begin 4–6 weeks in advance, allowing time for curator review and inclusion in the next scheduled rotation window. If you miss the rotation window, the track typically won't be added until the following cycle, creating a 1–2 week delay. Deezer also runs themed campaigns around seasons, holidays, and cultural moments, requiring even longer lead times (8–12 weeks for major seasonal playlists). Unlike Spotify Discover, which can theoretically add a track any day, Deezer editorial playlists are more formal structures with planned editorial calendars. Hold these timing realities in view when you plan a release: a Deezer placement may take longer to secure than Spotify, but the deliberate curation process often means higher longevity and listener retention once a track is added. Coordinate Deezer pitches alongside radio promotions and other editorial campaigns to build a cohesive timeline.
Deciding Whether Deezer Is Worth Your Time
Deezer has a smaller UK presence than Spotify, so the honest question is whether the effort earns its place in your release week. Answer it with your own numbers rather than a rule of thumb. Open Deezer for Artists and look at where your existing listeners are: if France, Brazil, Germany or French-speaking territories show up at all, Deezer editorial is worth a submission, because a placement there reaches a concentration of listeners the UK charts will never show you. Deezer listeners skew towards paid subscriptions, which makes a placement worth more per listener than the raw stream count suggests. If your listener map is entirely UK and US and you have no European touring plans, put the hour into specialist radio or the independent playlists instead and revisit Deezer when a release gives you a reason. Keep a simple record of what you submitted, when, and what came back, so the decision next time is made on your own evidence.
Tip: One submission per release through Deezer for Creators costs you ten minutes. Deciding it is not worth it without opening your listener map costs you the territories you cannot see.
Key takeaways
- Deezer editorial submissions go through Deezer for Creators at artists.deezer.com. The staff behind the platform's own playlists do not publish addresses, so there is nothing to buy and nothing to guess.
- Independent and partner playlists on Deezer do publish contacts. Read the playlist description, follow the owner's profile to their own page, and use the address printed there with the policy beside it.
- Check every contact on the day you use it: the address still on the source page, a date proving the page is maintained, and the same person still curating the playlist.
- Deezer's editorial teams are organised by territory, with the strongest capacity in France, Brazil and the Benelux countries, so pitch by territory rather than as one global submission.
- Deezer editorial playlists refresh on fixed schedules rather than continuously, so a submission four to six weeks ahead of a refresh has a window that a release-week pitch does not.
- 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 the genre list can be read before paying for anything.
Pro tips
1. Cross-reference playlist refresh schedules with your release calendar at least 8 weeks out; Deezer editorial moves by calendars, not algorithms. Missing a refresh window costs you 1–2 weeks of visibility that Spotify's continuous adds avoid.
2. Research Deezer curators on LinkedIn before pitching; their profile often signals recent playlist additions, curator interests, and listening patterns: this intel transforms generic pitches into specific, relationship-building outreach.
3. Request analytics breakdowns from Deezer for Artists specifically for editorial placements; this data (streams by region, listener retention, audience overlap) is your strongest internal sales tool when pitching labels on the Deezer channel's value.
4. Prioritise French and German curator relationships early, even for UK-only campaigns; these teams control multiple playlists with significant cross-border listener reach, and early familiarity shortens future pitch evaluation times.
5. Track Deezer results separately from Spotify. Smaller numbers with better retention are a different kind of result, and keeping them apart is what tells you whether the ten minutes each release is earning its place.
Frequently asked questions
How do I contact a Deezer playlist curator?
For Deezer's own editorial playlists you do not: those go through Deezer for Creators inside the artists.deezer.com dashboard, where you select playlists and territories. For the independent and partner playlists on Deezer, open the playlist, follow the owner's profile to their site or profile page, and use the address published there. Guessing an address from a company domain is not research and gets treated as what it is.
Should I buy a list of Deezer or streaming curator contacts?
No. Bulk curator lists are scraped once and resold for years, so they mix staff who moved on with addresses that were never offered for pitching, and the dead ones damage your deliverability for every later send. A contact worth keeping is one whose source page you can open today and read the same address on, with the date you checked it written beside it.
How long does it typically take to get feedback on a Deezer editorial pitch?
Response times through Deezer for Creators typically range from 2–3 weeks, but this depends on the playlist's rotation schedule. Direct curator outreach often elicits faster responses (5–7 days) if you're pitching within their planned refresh window. Always check a playlist's refresh calendar before pitching to avoid submitting just after an update.
Is Deezer editorial worth prioritising for UK-based artists?
Yes, but with geographic realism. Deezer's UK editorial capacity is smaller than Spotify's, but placements deliver high-quality, engaged listeners and often lead to European touring audience discovery. Prioritise Deezer for artists with existing French or benelux listener bases or genres (tech house, indie pop) with strong Deezer engagement metrics.
Can I pitch the same song to multiple Deezer playlists simultaneously?
Yes, through both the Deezer for Creators platform and direct curator outreach. However, be strategic: pitching to competing playlists (two 'New Music' playlists of the same genre) in the same territory within days of each other can dilute visibility. Target complementary playlists across regions instead.
What's the difference between pitching through Deezer for Creators and direct curator outreach?
Deezer for Creators is the official submission tool with predictable response times and structured evaluation, but it lacks personalisation. Direct curator outreach is faster (5–7 days), allows you to explain why you fit their specific curatorial vision, and builds relationship capital: but requires upfront research to find contact details.
How do I demonstrate to labels that Deezer editorial is worth the effort?
Pull specific metrics: share listener numbers from past placements (average 50,000–500,000 streams per editorial placement depending on tier), highlight Deezer's higher paid subscription rate (better long-term revenue per stream), and break down regional impact to show where Deezer outperforms Spotify. Build a simple quarterly report tracking placements, streams, and audience growth.
From the field
Proof points
- Named contact reply rate vs studio@: 5x higher (Liberty Music PR campaign data, 2024-2026)
- Specialist shows beat playlist pitches: Named producers respond, playlist-only emails get dropped (Liberty 2024-2026)
- 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)
What actually happened
Roam Belle, Specialist UK radio + community stations: 96 plays across the campaign window, declining after week 5. Named-contact pitches outperformed generic submissions. (February 2025)
Deezer editorial is smaller than Spotify but more responsive when you reach the named editor for the right territory. The submission tool inside Deezer for Creators is useful as a backstop, but the conversations that actually shift placements happen by email with named editors. I treat it as a niche relationship channel. Pitch by territory, lead with the listener context, follow up once after seven days.
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.
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