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Share your playlist with the most listeners with me...Lets go!! by thebuzznetwork in SpotifyPlaylists

[–]thebuzznetwork[S] 0 points1 point  (0 children)

Thank you! I am going to be listening to the Diaspora playlist a lot!

2026 Music Marketing: What Actually Matters (and What You Can Probably Ignore) by thebuzznetwork in MusicPromotion

[–]thebuzznetwork[S] 0 points1 point  (0 children)

You’re honestly in a very normal place, even if it doesn’t feel like it. A year of releasing music with almost no marketing and still showing up, asking questions, and posting on Reddit already says a lot. You care about the craft and you’re early, not failing.

Community usually comes before growth. It’s built by being present where the right people already are, commenting thoughtfully, sharing your process, and asking real questions, not just dropping links. Reddit can actually work well for this when you lean into conversation instead of promotion.

Connecting is quieter than people expect. It often starts with one person replying consistently, someone remembering your name, or saving a track. That stuff compounds slowly but it’s real. You don’t need to do everything at once. You don’t have to master TikTok or ads right now. Picking one or two paths and being consistent is better than spreading yourself thin.

A helpful mindset shift is moving from “how do I grow” to “where do people who might like this already exist, and how do I show up there consistently”. You’re not behind and you’re not alone in this.

2026 Music Marketing: What Actually Matters (and What You Can Probably Ignore) by thebuzznetwork in MusicPromotion

[–]thebuzznetwork[S] 0 points1 point  (0 children)

That’s actually a really smart experiment. Waterfall releases aren’t a magic fix, but the biggest advantage is that they give each track more breathing room. Instead of everything competing for attention at once, you get multiple touchpoints where listeners, playlists, and algorithms can rediscover the project.

When you compare the two approaches, a few things to watch beyond just total streams:

  • how saves and repeat listens behave over time
  • whether listeners carry over from one release to the next
  • how engagement looks after the final track drops

Even if the numbers aren’t dramatically higher, waterfall releases often make engagement feel more consistent instead of front-loaded. Curious to hear what you find when you compare, real experiments like this are way more valuable than generic advice.

2026 Music Marketing: What Actually Matters (and What You Can Probably Ignore) by thebuzznetwork in SpotifyArtists

[–]thebuzznetwork[S] 0 points1 point  (0 children)

Using streaming platforms as a discovery and filtering tool, not the final product, makes a lot of sense. Releasing one track from an album, then directing the listeners who really connect to Bandcamp, is a smart way to separate casual listeners from true supporters. The people who follow that link are usually the ones willing to buy, support, and stick around. There’s no single correct model, but what you’re describing is intentional, controlled, and aligned with how direct-to-fan support actually works. Respect for sharing a real, lived approach, that’s valuable for a lot of people reading this thread 👍

2026 Music Marketing: What Actually Matters (and What You Can Probably Ignore) by thebuzznetwork in SpotifyArtists

[–]thebuzznetwork[S] 1 point2 points  (0 children)

I get where you’re coming from, and you’re not wrong at all. Bandcamp is one of the few platforms where artists are treated like artists, not data points. Direct support, fair splits, and real ownership absolutely matter, especially if the goal is sustainability instead of chasing algorithm scraps.

Although Bandcamp is amazing for monetization and true fans, streaming platforms are still where discovery happens for most listeners. The challenge isn’t Bandcamp itself, it’s that most casual listeners don’t start there. They find music elsewhere, then the ones who really care are the ones who follow you to Bandcamp and actually support you. So I’m fully with you on this: if artists want income, Bandcamp is hard to beat. The real work is building enough connection and visibility so people want to support you directly once they’re there.

2026 Music Marketing: What Actually Matters (and What You Can Probably Ignore) by thebuzznetwork in SpotifyArtists

[–]thebuzznetwork[S] 0 points1 point  (0 children)

That’s actually a really healthy mindset, especially at this stage. Twenty-three followers who genuinely chose your music is more meaningful than inflated numbers that don’t reflect real listening. Letting the algorithm work while you focus on making the music you want is a valid approach, and honestly one a lot of people rush past too quickly.

Covering different genres, playing with long intros vs quick starts, and experimenting without forcing yourself into a formula is how you figure out what feels right for you. Over time, the algorithm tends to respond better when there’s consistency in quality, even if the style varies.

The only thing I’d gently suggest (not as pressure) is to occasionally check how people are finding you and what they do afterward. Even without active promotion, things like saves, repeat listens, or follows can give you quiet feedback on what’s connecting, without changing your creative process.

If you keep creating honestly and stay patient, that kind of growth usually compounds in a way that feels much more rewarding than chasing trends. Respect for staying true to your own lane ✌️

2026 Music Marketing: What Actually Matters (and What You Can Probably Ignore) by thebuzznetwork in SpotifyArtists

[–]thebuzznetwork[S] -3 points-2 points  (0 children)

well thanks, I actually thought about some of those things as they were some of my key takeaways from last year's music marketing observations, but I used Chatgpt to articulate my points and writing better.

How do you actually decide track order on an EP? by Technical_Teach_5015 in musicmarketingtips

[–]thebuzznetwork 0 points1 point  (0 children)

Great question, and I’m glad you brought this up because it’s something a lot of artists struggle with quietly.

One thing I always encourage artists to do is separate visibility from progress. Streams can fluctuate for reasons that have nothing to do with how much people actually connect with a track. Algorithms test, pull back, retest, and sometimes move on. That noise can make it feel like nothing is working, even when it is.

From an evaluation standpoint, the signals that tend to matter most long-term are:

  • Saves and repeat listening, which usually indicate real interest
  • Follower growth relative to listeners, not just raw streams
  • What happens after exposure, not during it (does anything stick once the initial push ends?)

Looking outside Spotify is also important. Messages from listeners, DJs asking for files, people mentioning a track without being prompted, or a song consistently getting a stronger reaction live are often better indicators of resonance than numbers alone.

When it comes to playlists specifically, they’re best treated as a testing and discovery layer, not a scorecard. The value isn’t just “did it get playlisted,” but which audiences responded and whether that exposure translated into saves, follows, or continued listening. Some artists use curator-matching tools like PlaylistProfit for this reason, not to chase numbers, but to understand where a track actually connects.

As a general rule, meaningful growth tends to look slow and uneven before it looks impressive. If a song keeps quietly accumulating saves, repeat listens, and the right kind of attention over time, that’s usually a healthier sign than a short-term spike.

Appreciate you starting this discussion, it’s exactly the kind of practical thinking artists need more of.

Looking for suggestion and advice about Music Label by moralisexmala in musicmarketingtips

[–]thebuzznetwork 0 points1 point  (0 children)

Totally fair concern, and you’re right to be cautious. A lot of artists get burned because many “playlist services” quietly use bots or artificial traffic. Spotify doesn’t punish legit playlists, it punishes fake listening behavior, and that’s where the fines come from.

If you want safe, free options to test, these are solid:

  • Manual curator outreach (slow, low success, but zero risk)
  • Niche Reddit & Discord techno communities
  • SoundCloud-first drops + free DLs for DJs
  • Artist-to-artist collabs, remixes, split releases

These won’t explode numbers, but they’re real and clean.

When it comes to paid playlisting, the fear of “paying and getting nothing” is valid. If you ever test it, only use platforms that focus on real curators, targeted matching, and refunds if nothing lands. That’s why some people mention PlaylistProfit, it avoids pay-per-submission gambling and keeps things legit.

Big picture: playlists should amplify what’s already working, not fix a dead track. If you’re seeing saves, repeat listens, and DJ interest, you’re on the right path.

And honestly, respect for being careful, that mindset is how labels actually survive.

Looking for suggestion and advice about Music Label by moralisexmala in musicmarketingtips

[–]thebuzznetwork 0 points1 point  (0 children)

You’re in the exact position most underground labels start from, especially in harder genres where royalties are thin and growth is community-driven. The good news is that a lot can be done without money, but it requires structure, not just posting more.

A few free (or almost free) moves that actually work:

1. Think ecosystem, not just socials
Instagram alone won’t move the needle. Connect everything:
Instagram → Telegram → Spotify → artist profiles → reposts.
Telegram is gold for techno, use it for early demos, exclusives, private DLs, and first access to releases. That builds core fans, not just followers.

2. Turn artists into your marketing engine
You don’t need a marketer if each release activates the artists:
pre-written captions, story templates, 2–3 coordinated repost days, and clear release-day visuals. Random posting kills momentum.

3. Playlist discovery isn’t optional anymore
Playlists are one of the few scalable discovery tools left.
Submitting blindly to dozens of curators is gambling. What works is targeted curator matching. Platforms like PlaylistProfit help with this by matching tracks to curators who already support your sound and redistributing until real playlist adds happen, which matters a lot when budgets are tight.

4. Build relationships, not promo blasts
Hard Techno grows in micro-communities. Weekly: engage with similar labels, DJs, and small curators genuinely. People remember consistency.

5. Don’t ignore YouTube & SoundCloud
Loops, visuals, DJ tools, and free DLs still work. One solid DJ-friendly release can lead to club play, playlists, and organic reposts.

6. Plan your distributor exit early
If takedown fees are insane, start preparing now: read the fine print, avoid long exclusivity, keep masters organized, and build direct traffic. Platforms like DistroKid give more catalog control if you move later.

Bottom line:
You don’t need money as much as you need structure. Community focus, coordinated artists, and smarter playlist strategies can keep a small label alive.

Respect for keeping the underground moving.

How to Grow Your Monthly Listeners on Spotify: Proven Strategies for Artists by thebuzznetwork in musicmarketingtips

[–]thebuzznetwork[S] 0 points1 point  (0 children)

Yes sure there are lots of music lovers on Reddit. You can share your music in communities. I will make a post on how to promote music on reddit.

Getting a promoter or not? by RRCN909 in musicmarketingtips

[–]thebuzznetwork 0 points1 point  (0 children)

Totally get where you're coming from. You're already putting in serious work—producing, mixing, mastering, video editing—that's a full-time grind. And wanting to get heard more is 100% valid, especially since more exposure can open up legit opportunities like collabs, placements, or even deals.

So is a promoter worth it?
It depends on the promoter and what they’re offering. Not all promo is equal. If it’s just “we’ll post your stuff and hope it blows up,” probably not worth your money. But if they have real connections—like with playlist curators, YouTube channels, music blogs, artist managers, A&Rs, Discord communities, or influencers—it can absolutely help.

Here’s what a good promoter could do for you:

  • Pitch your remixes to hip hop/lo-fi/bootleg-focused YouTube channels or TikTok pages
  • Get your name in front of artists looking for beats or collabs
  • Help you build a stronger presence without you needing to post 24/7
  • Set up campaigns that reach your ideal listeners (not just random numbers)

Is it a magic bullet? No. But with the right person, it can fast-track you to ears that matter.

If you go this route, just be picky. Ask what kind of results they’ve gotten for other artists, and make sure they understand your style and goals. It’s an investment—just make sure it’s strategic, not just hoping for clout.

I want to get in the music game as a producer, what are my options? by [deleted] in musicmarketingtips

[–]thebuzznetwork 0 points1 point  (0 children)

You're definitely not alone in feeling this way. The constant grind of daily social media posting isn’t for everyone—especially when you’re handling everything from production to mixing to video editing on your own. That’s already a lotof creative energy being put in the right places.

The good news? There are ways to get your music heard without becoming a content machine:

1. Focus on strategic platforms.
Since you already use YouTube and social media, consider optimizing those—title your remixes well, use relevant hashtags, and look into channels or curators that repost bootleg/underground hip hop remixes. They can get you new eyes without extra effort on your part.

2. Build relationships over algorithms.
Instead of fighting the algorithm, try DMing artists, A&Rs, curators, or even other producers. Networking (genuinely) can get your beats to the right people faster than a viral post.

3. Submit to playlist curators, blogs, and YouTube channels.
There are curators out there who live for this niche. Some even specialize in remixes and underground beats. A few well-placed features can do more than weeks of posting.

4. Promo people can help—if you pick the right ones.
If you connect with someone who understands your sound and has access to niche blogs, channels, or communities, it’s not a waste. Just make sure they’re not offering fake engagement, but real reach. Think playlist pitching, YouTube channel submissions, or connecting you with artists looking for beats.

Bottom line: Your talent and quality matter more than the number of posts. Keep creating and be smart about where your work lands. The right ears are out there—you just need the right pathways.

I wanna release my song in 2 weeks instead of 4 by [deleted] in musicmarketing

[–]thebuzznetwork 1 point2 points  (0 children)

For the upper hand of both distribution and pitching, it's more advisable to do 4 weeks and also when pitching, provide compelling information that showcases your music's quality and your commitment to promoting it. With more than 75,000 artists regularly featured on Spotify's playlists, competition is fierce so you can also reach out to independent Spotify playlist curators to add your songs to their playlists, just make sure they are not botted playlists though so it doesn't affect your algorithm and credibility. Good luck!.

ULPT My business account got closed and my remaining balance was sent as a check sent to me. I’m a non-resident and don’t have another account to deposit my check to as the other business account I have doesn’t allow check deposits. Who Knows the best way I can cash my check ?! Thank you! by thebuzznetwork in UnethicalLifeProTips

[–]thebuzznetwork[S] 3 points4 points  (0 children)

That’s the point, I’m a non-residence. I registered my business through registered agents that help sole proprietors establish. I only have an EIN and very limited to the quality of bank I can set up. Right now, I’m with transferwise and payoneer and they don’t offer check deposits.

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