Promote a Song on Easy Mode with SubmitHub

11 comments on Promote a Song on Easy Mode with SubmitHub
SubmitHub Promote a Song

Disclosure: This post may contain affiliate links, meaning I get a commission if you decide to make a purchase through my links, at no cost to you.

SubmitHub quietly rolled out a feature called SubmitHub Packages, a single dashboard that bundles playlist submissions, blog submissions, and Meta ads into one “set it and forget it” campaign.

Seeing as “set it and forget it” is Passive Promotion’s whole reason for existence, I took it for a test drive with my latest Color Theory single “The Naked Eye.”

I’ll walk you through the campaign creation process and share my results, but keep in mind that SubmitHub founder Jason Grishkoff is constantly updating the platform. Things will likely look different for you!

Alright, let’s get this show on the road.

Easy Mode vs. Advanced Mode

SubmitHub Packages

For starters, I went with Easy Mode for the ultimate kick-back experience. Advanced Mode has extra options like influencer marketing, album reviews, and graphic design.

Pick a package

SubmitHub Packages options

There are three preset Spotify-focused bundles: Starter (120 credits), Boost (250 credits), and Scale (550 credits). There’s also a Custom mix builder if you want to dial in your own ratio of playlists, Meta ads, and blogs. Lurking at the bottom of the page is a Branding option (100 credits) specifically for blog submissions.

SubmitHub Packages Boost

I went with Boost: Work toward your first 1,000 streams. 150 credits for 10 days of Meta ads to Spotify, plus 30-40 playlist submissions and blogs.

I also checked the “Blogs: submit to 10-15 for 30 credits” box, bringing the total to 280 credits. Why? Because I happened to have exactly 285 credits after converting all my curator earnings.

At this point, you may be wondering what 280 credits translates to in US dollars.

The sticker price for one credit is $1, but you can get up to 25% off of that by buying in bulk:

SubmitHub credits

Additionally, you can get a 10% off coupon from me here, which should stack.

Jason told me that people pay around $0.80 per credit on average, so I’ll use that figure in my calculations going forward.

For me, 280 credits is $140, because I’m able to convert my curator earnings to credits at $0.50 per.

Pick a song

SubmitHub Packages upload

Next up, you select a previously uploaded song or add a new one. I always upload a high-quality mp3 and provide SoundCloud and YouTube as additional sources.

Of course, you’ll also want to add the Spotify link when you get it. In my case, I uploaded nine days before release and didn’t have it yet. DistroKid’s Spotify URI looker-upper has been broken for me since the start of 2026 and I can’t get them to fix it.

And so it begins…

That’s all there is to it! Select Easy Mode, pick a package, pick a song, done.

SubmitHub Packages submitted

It took five minutes from start to finish, and half of that was taking screenshots.

I received an email confirmation explaining what happens next:

  1. Learning phase – We’ll send your track to a selection of curators to see how it performs. This takes about 3 days.
  2. Analyze & optimize – Based on the results, we’ll adjust our targeting for a second round of submissions.
  3. Meta ads – We’ll set up and manage ads to drive engagement.

The Learning Phase

Three hours later, I received another email saying they’d submitted the track to 15 playlisters and 7 blogs to start the learning phase.

SubmitHub Packages Learning Phase

At this point I’d worked through a few more submissions and earned more credits, so I added 35 more to Playlists.

Round one results

The next day I received an email summary with way more than 15 playlisters and 7 blogs:

SubmitHub Packages round one results

For the most part, these were great picks.

There are a few that I knew wouldn’t accept the track, either because they only accept instrumental synthwave or they’ve told me a dozen times that they don’t like my voice.

Balancing that out, a few names I didn’t know turned out to be receptive.

A couple of days later, I received an email with the subject line: Round 1 results: 35% approval rate

  • Sent to 59 curators
  • 18 approved (35%)
  • 33 declined
  • 8 didn’t respond in time

Solid results. We now have a good sense of which curators are responding well, and we’re using that to guide round two.

My average approval rate is around 45%, with my highest being 68%, so seeing 35% with a bunch of new names thrown in is respectable.

Round two results

There weren’t many credits left to spend on playlists and blogs, but the second round netted me four more approvals:

  • Sent to 74 curators total
  • 22 approved (35%)
  • 40 declined
  • 12 didn’t respond in time


You still have 8 credits remaining. We’ll continue sending to curators in the background to make the most of them. You won’t hear from us on every send, but you can always check your package page for updates.

Keep in mind that this all took place before release day! The main event, Meta ads, was still to come.

Before it kicked off, I topped up the Meta Ads budget by 130 credits, bringing it to 280 total (28 per day over 10 days).

SubmitHub Packages round 2

Release day: Meta ads begin

It typically takes me 4-6 hours to set up a Meta campaign, most of which is devoted to creating videos in Canva. Offloading that chore to SubmitHub was glorious.

First, they generate a landing page. Mine is here.

SubmitHub Packages Landing Page

By default it only includes Spotify, which is fine if maximizing Spotify streams is your only goal. I added the other links myself because around 20% of my conversions typically go to Apple Music.

Then, they select targeting:

SubmitHub Packages Targeting

Country targeting was a little different from my usual suspects, but nothing jumped out at me as problematic.

Finally, they make the actual creatives, 5 to start, which are generally stock footage with text overlays. With your song playing underneath, of course!

SubmitHub tells you what will happen next in an email:

  • First week: Meta enters a “learning phase,” where it optimizes your creatives. Conversions are typically slower and more expensive during this period (1-2 per credit).
  • Second week: Meta identifies what works best, or we step in to make adjustments. We’ll email you an update on your ad’s performance.
  • Third week: Your ad should be running smoothly, with costs per conversion decreasing. If not, we’ll help you decide the best course of action.


When your remaining budget starts to run out, we’ll email you about automatically renewing the ad. To opt out, visit the “status” section of your ad and look under the “budget” section.

By default, they run the ads from their own Meta ad account, but I chose to have it run from mine instead. Meta sends an email invite with a link to approve or deny the access request.

SubmitHub Packages Facebook Page access

Meta ads results

After a few days I was able to see the winning ad. It’s no longer available on the dashboard, but from what I saw it was simple, appropriate, and seemingly effective. At its peak, it was generating 1.6 conversions (clicks from the landing page to a streaming service) per credit. At an average cost of $0.80 per credit, that’s $0.50 per conversion.

That’s not horrible in and of itself, but only 8% of users who clicked on the ad were clicking through to a streaming service from the landing page. I’m used to seeing at least 40%.

That tells me that either people didn’t understand what they were clicking on, or Meta was optimizing for the wrong sort of user. The vast majority of conversions were from Mexico, which is normally reliable.

They continued testing new visuals, and I added four of my own.

SubmitHub Packages Visuals

I decided to test a quick campaign on my end via Hypeddit with those four visuals, and managed $0.18 per conversion the following morning.

Figuring I’d just handle the ads on my own, I pulled the plug on the Meta ads portion of the SubmitHub campaign and was immediately refunded 107 credits.

And then…

My cost per conversion quickly climbed back up to roughly what SubmitHub had been doing, depending on how you price a credit.

SubmitHub Packages Hypeddit results

I ran my campaign for another week and decided to save my money for the next song.

Here are my final SubmitHub Meta ads results:

SubmitHub Packages Meta Ads Results
SubmitHub Packages Ads Analytics

In retrospect, I should’ve just let the SubmitHub Meta campaign ride, if only for the sake of this post! It’s not clear that I did any better on my own.

SubmitHub Packages Conclusions

So, was it worth it?

SubmitHub Packages shares

My playlisting and blog submission results were par for the course, the key difference being that it didn’t cost me an hour of my time. SubmitHub hit up all the usual suspects and then some, in an intelligent fashion.

The Meta ads campaign saved me another 4-6 hours, or would have if I hadn’t decided to get my grubby little hands dirty and launch my own.

My Meta ads budget was 280 credits, of which 107 were refunded back to my SubmitHub earnings when I pulled the plug, leaving 173 credits actually spent on ads. They generated 192 conversions, which works out to $0.45 per conversion at my cost of $0.50 per credit, and $0.72 per conversion at the typical $0.80 per credit.

And that’s not factoring in that someone had to actually make the 10 creatives!

So yeah, it was worth it!

Here are my results in Spotify for Artists. My SubmitHub ads campaign stopped on April 9, and as you can see, streams dropped off sharply afterward:

SubmitHub Packages Spotify for Artists

Maybe next time I’ll try a bigger campaign, while also launching a Meta campaign on release day to see which performs better.

Have you tried SubmitHub Packages for yourself? Share your results, observations, and questions in the comments!

11 responses to “Promote a Song on Easy Mode with SubmitHub”

  1. Apostola Avatar

    Thanks as always for trialling and documenting – this seems like an exciting (and more importantly – EASY) method to try and will def be doing so soon! One clarification please: is it better than Hyppedit ‘version’?

    1. Brian Hazard Avatar

      Great question Paula!

      Hypeddit is great for running ads and creating simple videos. Ad campaigns are run on your own account and Hypeddit doesn’t take a cut.

      I suppose the decision comes down to your skill and willingness to come up with winning creatives. In terms of video quality, they’re roughly on par.

      Of course Hypeddit doesn’t pitch to playlists and blogs. That’s SubmitHub’s core offering, and something you’ll want to do either way.

  2. Apostola Avatar

    Thanks! Will report back when I try Submithub.

  3. I. Isaac Avatar
    I. Isaac

    Hi, Brian,

    In regard to SubmitHub promotion…

    The Starter package of the easy mode comes with automated submissions based on the song’s genre.

    Not too good of an idea because it may overlook certain requirements specified in the curators’ bio (such as no AI-assisted cover art).

    Also… After using SubmitHub for five years, here are some of my very honest thoughts.

    1. When artists are just starting out and make obvious mistakes (weak vocals, off-key singing, lack of timing, instruments clashing, bad mixing, insufficient mastering, etc.), the feedback tend to be more objective and helpful to help them grow. But the more experienced they become, the more professional the songs get, the more subjective or nitpicky the feedback becomes to a point it’s just ridiculous!

    2. Declines are to be expected, but at some point, the number of approvals is just too low past a certain quality level.

    3. As Idan Altman points out in ‘The Truth About SubmitHub’ (YouTube vlog entry), SubmitHub can be dangerous for artists because, getting all those declines, the artist may feel like their music is lukewarm or truly terrible and their talent is an illusion—even if their music is very good or great!

    4. Even producing high quality music and taking the time to carefully select curators (by reading their bio/requirements, checking the genre match, listening to many snippets of approved songs, etc.) doesn’t pay off for many.

    5. Some of the decline feedback just doesn’t make sense. Some SubmitHub users reported how the curator mentioned something (vocals, guitars, piano or else) that is not even heard in their song… Some curators even contradict themselves in the same piece of feedback.

    6. Even going back to the studio to address some of those curators’ points, it would either not change much anything, or spoil the song, or displease other curators, or simply NOT be what the artist wants and likes for their song.

    In that aforementioned vlog entry, Idan Altman explains how he found it odd that certain songs of his that got declined on SubmitHub were approved by email by the same curators.

    He later discussed the matter with a Musosoup curator he met in person. That curator explained to him that that’s because of an approval quota that SubmitHub has.

    That curator admitted to often finding himself making up all sorts of excuses to decline songs he actually likes. He does so in order not to approve “too much” due to SubmitHub’s requirements. 

    (If he approves a whole lot, SubmitHub will see it as not being selective enough and not actually doing curation.)

    He declines tons of songs he finds very, very good in order to respect a 20–30% or so quota.

    He could approve much more, but that would apparently lower his rating as a curator on the site.

    In other words, he (and some other curators) lie to the artist (while taking their money), issuing a decline feedback even though they’d approve the same song elsewhere.

    We’ve got to ask ourselves: “What are we paying for?”

    Jason Grishkoff admits that even great tracks get declined a whole lot, telling SubmitHub users: “Many curators receive dozens of submissions a day and are very selective about what they share. Even great songs get declined more often than not, and an approval rate of around 30% is considered strong. A decline usually means the curator didn’t connect with the song enough to put their name behind it, even if the genre is a match.”

    Basically, speaking for those of us who’ve reached a pro level, we’re spending all that time and money for consideration and feedback, most of which either insists that our songs are never a fit despite careful curator selection and sufficient quality, appeal and merit *or* implies that we’re STILL not pros and our stuff is still not up to par, even after years or decades! (Yet, some artists [such as Billie Eilish, Tate McRae, The Kid LAROI, Benson Boone, and Sabrina Carpenter] that are much younger than some of us are already considered full pros or even geniuses.)

    In comparison, I much prefer the Musosoup model.

    There is initial quality screening, and it’s free.

    Once the song passes that test, the artist pays to launch the campaign: the song is placed in the pool for consideration—consideration is the key word here.

    ***Technically, the artist pays for consideration.***

    It should be noted that Musosoup curators have no obligation to listen or respond to any of the songs placed in the submission pool.

    Those curators who are interested in the song approve it by making a free *and* a paid offer to the artist.

    There is always a free option!

    The free option gives less coverage, and the paid option gives more coverage.

    This is why I don’t see it as payola. 

    The crux of the matter is, artists get a whole lot more placements there, whether it’s through free or paid offers. And I mean a whole LOT!

    A former SubmitHub user did not meet much success on the site, yet his songs are so good that people actually pay to download them a lot on Beatport, and he’s had #1 songs there.

    Another former SubmitHub user made me notice that back in the day, compilations would pay the artists, not the artists paying them! The artists are the ones supposed to sell their products rather than having to spend that much time and money trying to appear on blogs and playlists.

    She noticed how some of the most placed tracks on SubmitHub (in her genre) all sound like AI slop put through Soothe2 filters and stuff. Her stuff (on pro level) did not meet much success there though she makes everything from scratch, even her synth patches.

    My latest release (that cost $1,755 to produce) was declined for inclusion on a certain playlist (curator wrote: “Really great production and the singer’s performance is really professional, and I loved the groove, but unfortunately the topline didn’t grab me, so I’ll pass. Wishing you lots of success with the release.”). Yet, that same playlist has 16 songs flagged as AI…

    Something to think about!

    1. Brian Hazard Avatar

      Thank you for the thorough and detailed comment!

      You’re absolutely right that automated submissions could potentially overlook finer details. I haven’t seen a curator who won’t accept AI-generated cover art, but I have seen some that are instrumental-only.

      Of course, we users could also overlook those sorts of details. If you’re willing to put in the time and effort, you’ll probably do a better job yourself. Still, their algorithm has the benefit of objectivity. It can be tough to accurately assess and describe our own music.

      I took a quick listen to Idan Altman on Spotify, and it doesn’t surprise me that his music didn’t go over well on SubmitHub. I suggest anyone taking his conclusions seriously do the same.

      I’ve never heard of a curator trying to maintain a specific approval percentage. We’re not incentivized to do that, that I’m aware of anyway.

      The Musosoup model involves paying for coverage, regardless of whether you would’ve received lesser coverage anyway. It’s not for me.

      Speaking for myself, I’m very attuned to mixes that are overly done with Soothe and Gulfoss and will decline them on that basis. My playlists have zero AI tracks and I do the detective work to keep it that way.

      Your central thesis seems to be that objectively great music gets rejected on SubmitHub. That’s absolutely true. Curators are free to approve or decline whatever we want, and some do a better job of explaining their reasoning than others.

      I don’t see anything sinister in that, no matter how hard I squint. It doesn’t matter how much you paid to produce your song if the melody doesn’t speak to the curator.

      1. I. Isaac Avatar
        I. Isaac

        That’s the thing… SubmitHub curators are mostly in it for themselves. 

        They can deny 80%+ of submissions they receive and still keep the money for their time—whether or not truly sincere in their reason to decline.

        But what do the artists get from that? Is it really worth the time and money?

        Carefully selecting curators to pitch to can be very time-consuming in the long run, and it can also be costly if paying for the credits; many curators now charge three, four, or even five credits.

        Yes, it is possible to obtain premium credits for free via Hot or Not, but doing so properly is very time-consuming as well. Obtaining five credits through Hot or Not may take hours!

        As for standard credits (always free), once you narrow it down per genres, you may find only several curators willing to accept them, and statistically, the odds of approval via standard credits is much lower.

        ***The problem is not so much the declines…***

        As I said, declines are to be expected. It’s *mostly* getting declined even when the material is solid that is aggravating and ends up feeling like a waste of time and money.

        Once again, Jason Grishkoff confirmed that even great songs get declined more often than not—even with a high genre match.

        I just wish it was more balanced—like 50/50. But the way it is, 30% is considered strong. That’s still 70% of declines w/ mostly bollocks feedback.

        I, as an artist, just like the curators, am in it for myself. I want my song my team and I worked hard on to obtain as much coverage as possible. Once it’s in front of the public, it’s up to them to decide, but it’s at least in front of people.

        Aside from Musosoup, there are other services such as Playlist Push, Groover, and Omari (omarimc.com) I might explore.

        So yeah, actual success is possible on SubmitHub, but to quote Matti Charlton, it may still mean “f*** all in the real world.”

        So my question is once again, is all that time and money carefully selecting curators and pitching worth it on SubmitHub?

        As detailed by Matti Charlton’s experience, even having a big hit there w/ a real good song and spending *thousands of dollars* on credits may not necessarily translate into global success.

        One more thing to think about!

        ______________________

        That said, SubmitHub has a good marketplace (that offers various services) and, as explained in this blog entry of yours, now offers to run Meta ads.

        Meta ads can be complicated to set up and sort out, so there’s value in that.

        1. Brian Hazard Avatar

          I fully reject the premise that curators are only in it for the $0.50 per $2.50 per submission. It can certainly be a factor, but when you’re starting at 1 credit per submission, it takes a lot of $0.50 submissions to add up to anything meaningful.

          For me personally, it can take an hour to get through a dozen submissions. I spend more on ads for the playlist than I make from curating. Yes, SubmitHub is a money-losing proposition for me. The greed!

          Feedback quality varies but it’s the best of any platform I’ve tried. Again, we’re talking about mostly non-musicians and often non-English speakers. Sometimes both. It’s certainly no better with Playlist Push and Groover, even though you’ll be paying 10x per submission for the former.

          As for whether it’s worth it, SubmitHub tells you how many streams you can expect to get from any given playlist. It’s your call.

          Spending thousands on credits is silly. Don’t do that. I’m going to delete your big copy/pasted AI quote, sorry. I’ll make sure that readers will still get the idea.

          My recommendation is to consider spending $50 or so on every release. Over time you’ll learn which curators are receptive to your music, and whether their approvals are worth the investment.

  4. I. Isaac Avatar
    I. Isaac

    Yes, as Matti Charlton stated in their big public post I quoted (they composed themself unlike the shorter AI quote), they spent thousands of dollars on SubmitHub credits.

    In their case, I wouldn’t say it was a waste. Because of that (and the quality and appeal of their work), they earned more than 500 acceptances on the site, including over 100 acceptances for “Dark Addiction” that broke major records there, incl. being the #1 new wave song all time and for all countries on the popular charts.

    It’s just that that success and all the coverage gathered didn’t translate into global recognition, and they weren’t able to recoup the money spent.

    To summarize, it initially seemed to them that SubmitHub was a
    potentially golden opportunity for the unknown indie artist, especially those like them who are underfunded with fewer opportunities.

    But as SubmitHub moved away from small credit submissions, and other things considered, it then appeared to them that the only people who can get anywhere on that site are the wealthy and those backed by record labels and publicists.

    That’s their take! Anyone is free to agree or not. I, for one, think they have a valid point.

    ***I agree that it may be best to spend less on that site to test the waters first—and see if it does anything for one’s numbers.***

    ______________________

    As for that album by Idan Altman you mentioned… I’ve listened to it in full last night in the park.

    Very honestly, I like it!

    It’s got a lot of soul and heart, I think.

    It’s some type of experimental indie music with electronic and acoustic sounds.

    “Who’s Walking Who” and “Nothing Wrong with Being Lazy” have that lyrical comedic appeal.

    “Thrift Store Girl” has that radiophonic sound; I’d say that one is particularly commercial.

    Other songs like “Proceed to the Gate,” “Happiness Is a Decision,” “It all works out in the ☰nd,” and “Heroic Bee” are quite introspective lyrically with some psychology.

    There are also instrumental pieces (incl. most of “Heroic Bee”).

    I like the sound of his voice: clear diction and some warmth. I see how certain listeners would say he somewhat sounds monotone, but that’s a style: sounds like he’s talking to his followers rather than just singing to them, but it’s melodic enough.

    All in all, sounds pro to me, some thought was put into it, and there’s a market for it, I’m sure.

    It’s just hard to guess what a curator will think and how much they’ll like a song, no matter how much care is put in the whole creation and selection process.

    1. Brian Hazard Avatar

      If Matti & Co. thought any degree of success on SubmitHub would translate to global recognition, that’s on them. The idea that “the only people who can get anywhere on the site are the wealthy and those backed by record labels and publicists” is ridiculous hyperbole. And realistically, there’s no way to calculate whether or not they recouped their investment over time.

      I totally agree with your description of the Idan Altman album. “Experimental indie music with electronic and acoustic sounds” is not going to go over well on SubmitHub, period. Nor with most of the listening public.

      I totally appreciate the dialogue, so don’t get me wrong, but I don’t understand why you’re sharing other artists’ negative experiences here. My sense is that you feel like your music should’ve performed better on SubmitHub, and that if you can prove that the platform is garbage, you’ll be vindicated. But if it’s actually a legitimate platform and curators are sharing their honest opinions without ulterior motives, you’ll be forced to accept that your music isn’t as good as you thought it was.

      Regardless of whether there’s some degree of truth in that, your results to a outsized degree come down to which curators you select. Same for your examples. If Mr. Altman only submitted to curators who have a history of accepting “experimental indie music with electronic and acoustic sounds,” we wouldn’t be having this conversation.

  5. Rick Kusters Avatar

    i love to submit my songs. but i dont have internet payment.
    Where can i upload my songs for free on submithub Easy Mode?
    Kind Regards.
    Rick Kusters (songwriter and guitarist of the Indie Rockband Portland Rider).
    P.s our song are broadcasted on local radiostations in some countries in Europe, UK, Canada & Australia and in some states in the USA.

    1. Brian Hazard Avatar

      I’m guessing you haven’t actually tried it because you can upload all your songs for free. You only pay when you submit with premium credits.

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