Every follower you have is on loan from an algorithm. The people who gave you an email address are not — and the tool you use to reach them decides whether that list grows, stays clean, and actually gets used.
Six capabilities the job demands, whichever tool you use. Take this list to any vendor you are evaluating, including us.
| What the job needs | Why it matters to you | How growyour.music does it |
|---|---|---|
| The list fills itself from what you already run | A list you have to build by hand is a list that stays at forty contacts. It has to grow while you are doing something else. | Download gate emails land in Promo Box automatically, and you can import an existing list from CSV — so the contacts you already earned are day-one contacts here. |
| One send, two audiences | DJs, radio and press need a private stream and a download. Fans need a link and a release date. Doing both from one tool saves an evening per release. | Promo Box sends to your own contacts with a branded promo page — artwork, tracklist, streaming links — and the same account holds the fan-facing links and gates. |
| You can tell who actually listened | An open is polite. A play is interest. Following up with the DJ who played the track twice is worth more than a second blast to everyone. | Per-contact opens and plays, so the follow-up list writes itself instead of being a guess. |
| Feedback comes back somewhere you will read it | Replies scattered across a personal inbox are replies you lose track of during release week. | DJ and radio feedback lands in your dashboard next to the campaign it belongs to, not in a thread you have to search for. |
| Consent and unsubscribes handled for you | One careless send can burn a sending domain you spent months warming — and getting flagged as spam is very hard to undo. | Consent travels with each contact from the moment they opted in, every send carries a one-click unsubscribe, and sending is throttled rather than blasted. |
| A cost that does not punish a bigger list | Per-contact pricing means growing your audience raises your bill every month, which is the wrong incentive. | Promo Box to your own list is included from $10/mo on Hustler; Innovator at $25/mo lifts the send caps. The price does not move because the list grew. |
A list you have to build by hand is a list that stays at forty contacts. It has to grow while you are doing something else.
How growyour.music does it
Download gate emails land in Promo Box automatically, and you can import an existing list from CSV — so the contacts you already earned are day-one contacts here.
DJs, radio and press need a private stream and a download. Fans need a link and a release date. Doing both from one tool saves an evening per release.
How growyour.music does it
Promo Box sends to your own contacts with a branded promo page — artwork, tracklist, streaming links — and the same account holds the fan-facing links and gates.
An open is polite. A play is interest. Following up with the DJ who played the track twice is worth more than a second blast to everyone.
How growyour.music does it
Per-contact opens and plays, so the follow-up list writes itself instead of being a guess.
Replies scattered across a personal inbox are replies you lose track of during release week.
How growyour.music does it
DJ and radio feedback lands in your dashboard next to the campaign it belongs to, not in a thread you have to search for.
One careless send can burn a sending domain you spent months warming — and getting flagged as spam is very hard to undo.
How growyour.music does it
Consent travels with each contact from the moment they opted in, every send carries a one-click unsubscribe, and sending is throttled rather than blasted.
Per-contact pricing means growing your audience raises your bill every month, which is the wrong incentive.
How growyour.music does it
Promo Box to your own list is included from $10/mo on Hustler; Innovator at $25/mo lifts the send caps. The price does not move because the list grew.
Nearly every artist agrees a mailing list matters. Very few have one worth sending to. The gap is not motivation — it is that manual list-building competes with making music, and loses every time.
So the capability that actually decides the outcome is not the send editor. It is whether addresses arrive on their own from the things you already do. A download gate on every release, running quietly in the background, will out-collect any amount of good intentions.
That is why gate capture and Promo Box are the same account here: the address a fan traded for an exclusive edit in March is already in the list you send your April release to, with the consent it was collected under attached. No export, no import, no evening lost to a spreadsheet.
An email that lands in spam did not happen. Nothing else in an outreach tool matters if that is where your sends go, and the causes are unglamorous: sending to addresses that never opted in, sending too much too fast from a cold domain, and making unsubscribing hard enough that people report you instead.
The practical protections are equally unglamorous. Consent recorded at capture and carried with the contact. One-click unsubscribe on every send. Throttled delivery rather than one giant blast. None of it is exciting and all of it is the difference between a list that works in two years and a domain you have to abandon.
Worth being direct about the flip side: this is also why Promo Box only sends to your own contacts. A tool that let you blast a scraped list would be doing you harm on a delay.
Outreach for an electronic artist is really two jobs. The industry send goes to DJs, radio and press: a private stream so the track does not leak, a download for the people who will actually play it, and a way to know who listened. The fan send goes to your list: a link, a date, and a reason to care.
They fail differently. The industry send fails when you cannot tell interest from politeness — so per-contact play data and a place for replies to land are what you check for. The fan send fails when it is generic, or when it arrives from a tool that makes your release look like a newsletter template.
Handling both from one account is not about bundling for its own sake. It is that the fan who downloaded your edit and the DJ who played it twice both belong in the same picture of your release, and splitting them across tools is how you lose track of both.
Where an outreach tool on growyour.music is the wrong pick for you:
Because it is the only audience nobody can adjust. Reach on every social platform is granted by an algorithm and can be reduced without warning or explanation. An email address is a direct line you own — it works on release day whether or not the feed decided to show you that week.
Trade something for them. A download gate on an exclusive edit is the fastest honest route: the fan gets a track that exists nowhere else, you get an address and the consent to use it. After that, keep the gate live on every release rather than treating it as a one-off campaign.
A general email platform sends newsletters. A promo tool is built for music: a private stream so nobody leaks the track, a download for the DJs who need one, per-contact play tracking, and somewhere for feedback to land. If you only ever send text updates, a general tool is fine and often cheaper.
Around a release, and when you have something a fan would actually want — a show, an unreleased edit, a mix. Monthly is a comfortable ceiling for most electronic artists. The failure mode is not sending too rarely; it is sending nothing for a year and then blasting a list that has forgotten who you are.
Not from Promo Box, and that is deliberate. It sends to your own contacts — people who opted in or who you already have a relationship with. Cold-blasting a scraped list is how sending domains get burned, and the damage lands on you, not the tool.
Yes, and you should ask this of every vendor before you start building a list with them. Your contacts export as a CSV whenever you want them. A list you cannot take with you is not really yours.
Artist mailing list tools
The named options, what each is actually for, and when a general email tool is the better buy.
How download gates grow an email list
The fastest honest route to your first few hundred addresses.
Getting your first 100 fans
What to do before a list is big enough to be worth sending to.
Music ad tools compared
When paying for reach is worth it, and why the owned list comes first.
Import your contacts, let your download gates keep adding to them, and send a branded promo page that tells you who actually listened.
See how Promo Box works