Music pitch email templates for curators, blogs, radio, and sync

A pitch template is a starting frame, not a script you send untouched. This page is the variant library: five templates, one per contact type, each laid out as a real email with a subject line, greeting, body, and sign-off, plus one template filled in completely so you can see the finished shape. The rules that govern all of them (length, the single ask, the one personalized line, what never to attach) live in how to write a music pitch email and are not restated here. What changes between templates is the center of gravity, because a curator, an editor, a radio host, a publicist, and a music supervisor each scan for a different thing.

Playlist curator template

Subject: [Genre] single for [playlist name]

Hi [name],

I found [playlist] through [something true: an artist they added, a post, a friend's recommendation] and it has been in my rotation since. I write [genre] from [city], in the space where [artist A] meets [artist B].

My new single "[title]" is out [date]. Private stream, no login needed: [link]

Would it fit [playlist]? All good if not, and thanks for the listening either way.

[Your name]

[One link: your Spotify profile or site]

A curator's product is the playlist's identity, so the entire pitch exists to prove you understand that identity. Fit is the argument; everything else is furniture.

The curator template, filled in

Here is that same template completed for a fictional artist, so you can see it working instead of squinting through brackets. Marisol Vega does not exist; emails like hers get replies every day.

Subject: Dream-pop single for Night Static

Hi Dana,

I found Night Static through the Hatchie tracks you added last spring and it has been my late-drive playlist ever since. I write dream-pop from Tucson, in the space where Mazzy Star meets Alvvays.

My new single "Porch Light" is out March 6. Private stream, no login needed: [link]

Would it fit Night Static? All good if not, and thanks for the listening either way.

Marisol Vega

open.spotify.com/artist/marisolvega

Read it back and notice what the filled version makes obvious: the first line could not have been sent to anyone else, the sound is placed in eleven words, and the whole email is six sentences. That is what short and specific looks like in practice.

Music blog template

Subject: [Genre] [single/video] premiere offer for [blog name]

Hi [name],

Your piece on [artist or topic] is what put [blog] on my radar, and this feels like it belongs in the same conversation.

[One-sentence hook: the story that makes the song a post, not just a track.] My [single/video] "[title]" arrives [date], and I would love to offer [blog] the first look.

Private stream and a one-line bio: [link]. Photos, quotes, or an exclusive are easy if useful.

Would a [premiere/feature] the week of [date] interest you? Thanks either way,

[Your name]

Editors publish stories, not audio files, so the hook sentence does the real work. If the hook is weak, fix that before you send anything to anyone.

Radio template

Subject: Radio-clean [genre] track for [show name]

Hi [name],

[Show] has been in my rotation since [something true and specific], and I think "[title]" would sit naturally between the things you play.

It is [genre], [runtime], with a radio-clean edit ready. Stream plus a downloadable broadcast file: [link]

Would you consider it for airplay? Thanks for keeping the show going,

[Your name]

Radio runs on practicalities: runtime, a clean edit, a file they can actually air. Put all three in the second paragraph, every time.

PR firm template

Subject: Independent [genre] artist seeking [press/radio/playlist] campaign for [month]

Hi [name],

I am an independent [genre] artist. The short version of my traction: [one honest, checkable point: a placement, a number, a past feature].

I have a [single/EP/album] coming [date] and I am looking for help with [the specific campaign type]. Music and a short bio: [link]

Are you taking on new artists for [month], and what does a campaign with you look like?

Thanks, [Your name]

With a publicist, you are the pitch. One honest traction point beats three inflated ones, because a good firm will check all three.

Before any of these leave your drafts, aim them at verified, genre-matched contacts. The directory covers every reader type on this page, from PR shops like Fritz Media to supervisors like Mary Ramos and Tiffany Anders.

Sync supervisor template

Subject: [Mood] [genre] track, instrumental ready, one-stop

Hi [name],

I write and own my own [genre] music, and "[title]" might be useful for the projects you cover.

It is [two or three mood words], [runtime], instrumental and stems ready, and one-stop, since I control both master and publishing. Private stream: [link]

Happy to send alternate versions or the instrumental directly. Thanks for considering,

[Your name]

Supervisors scan for usability: cleared, clean, easy to drop into a scene. Your journey is irrelevant here, and usability is the entire pitch. The wider approach is in how to pitch music supervisors for sync licensing.

Adapting them without breaking them

Two habits keep a template alive past the tenth send. Rewrite the recipient-specific opening from scratch every single time, from something you actually saw or heard, and keep everything after it ruthlessly short. The reasoning behind both, plus subject lines and follow-up mechanics, is in how to write a music pitch email.

Five readers, five centers of gravity, one constant: the right template sent to the wrong inbox is still a delete. Match each variant to a verified contact who provably covers your lane (the directory sorts them by type and genre), and the frame starts earning replies.