In today’s music industry, having a music distribution company by your side is not just an option but a necessity. Without the support of a reliable music distributor, your music career could suffer immensely. The majority of major streaming platforms, including Spotify, Apple Music, and iHeartRadio, now mandate that you collaborate with an approved music distributor to upload your tracks. Failing to do so can spell trouble for your career, as you’ll miss out on vital exposure, fan engagement, and, of course, revenue.

Streaming has become the primary mode of music consumption for the vast majority of people, reshaping the music landscape entirely in the past decade. Being absent from these important streaming platforms means missing out on connecting with your audience where they actively seek and enjoy music. It’s almost certain that your music career will face challenges and setbacks if you choose to forgo working with a music distribution company.

Of all the companies featured in this piece, Amuse is perhaps the most exciting when it comes to business models. It’s free to use their distribution system to get music into quite a few of the major online stores and onto streaming platforms all around the world, and for many acts, that’s as far as the relationship with the company will ever go.

If artists want to pay just $2 a month (about $25 a year), they can see their music reach consumers faster (as the main service is actually fairly slow), and the tunes will appear in even more stores and on additional streaming sites. Yet another option, one which will run creators $6 a month, tacks on 24/7 customer service and other goodies.

Here’s where things get interesting: if a song or album distributed by Amuse starts to pick up steam and do well on music streaming sites, the company can make a decision to reach out to the artist and offer them a deal of sorts.

Amuse calls itself a record label, and unlike others on this list, it is interested in finding and developing talent. If the band or artist signs a deal, which will see the company step up its game and begin offering everything from playlist pitching to marketing to financing for further projects, the profits are split between the two entities, whereas for other non-signed acts, everything goes to the musician.

Like some other music distributors on this list, working with AWAL to get music onto streaming platforms and into online storefronts where fans can buy individual tunes and/or full-lengths won’t cost anything upfront, but the company does take 15% of revenues generated by that art…that is, if you’re accepted at all.

Unlike pretty much every other music distributor in the world, AWAL is invite-only, and the firm only partners with artists that the staff likes and/or can see are on their way to bigger and better things. There are three levels at AWAL, and here’s what they mean:

• AWAL Core – The company describes this lowest tier of entry as one for “artists with a trajectory,” and the examples given show acts that have graced the cover of indie magazines or racked up notable stream counts on some release. AWAL finds these talents via suggestions, their own A&R, or via their submission form. Anyone is allowed to ask to be included, but employees will make the final call.
• AWAL+ – “Designed for a smaller group of artists we think are on the verge,” according to AWAL itself. The musicians signed to this tier are ones who have risen even higher, scoring major syncs with huge brands, collecting one million subscribers on YouTube, or something equally as impressive. Those at this level don’t just get distribution, but a team to promote them, a budget to push their music, and much more.
• AWAL Recordings – Signing to this tier is essentially the same thing as signing to a record label, only the rights to the music aren’t split the same way. The only names included here are not on the rise, but have already made it, as they have won major awards and appeared on charts all around the world. AWAL will push tunes to radio, market them aggressively, and spend even more money–but artists still own their own masters!

AWAL is a fantastic option to consider for any up-and-coming artist…if they’ll have you.

FreshTunes is one of the most enticing options when it comes to digital music distribution, as it’s entirely free. Yes, that’s right–you won’t have to pay upfront, and the company won’t take a cut of the revenue your work generates. It’s all yours. So…what’s the downside?

There are a few, and it’s up for you to decide whether they matter enough to sway you one way or the other. First, and perhaps most important–FreshTunes doesn’t distribute to every outlet. In fact, the list of streamers and stores it will send your art to is fairly small. It appears to include only 14 platforms, which leaves out dozens of others. Having said that, the most important options are featured, such as Spotify, Apple Music, Beatport, iTunes, Shazam, and more. The vast majority of listeners use these sites, so missing out on others might not be the biggest deal.

FreshTunes also appears to be…let’s say less developed than its competitors. One glance at its website shows that it looks to be behind the times and not quite as tech-savvy as others.

The distributor makes money from the additional services it offers, which you can decide to use or not. Many acts appear to be going with just the free distro option, but clearly there must be enough who pay for everything else, as otherwise the company wouldn’t be in business very long.

Okay, so LANDR isn’t actually free, but it’s such a good deal for what you get, I thought it made sense to include it here. The amount of cash you’ll have to hand over to work with this company is essentially negligible, no matter what plan you decide is right for you.

LANDR allows musicians to distribute an unlimited number of songs, master any amount of MP3s, use various online collaboration tools, and even dabble in sampling, all for just $13 a month. That’s not much, considering the fact that the company doesn’t take any royalties from artists who sign up, which many other music distributors do.

LANDR isn’t known just for distribution though. The startup has made a name for itself as a digital mastering platform , and it can be one of the cheapest and best ways to get your new tunes mastered and ready for distribution.

Music Gateway belongs on this list, as it is a company that can distribute your music to everywhere it needs to be, but the firm does so much more than that…and that’s what makes it so interesting and appealing. In addition to simple online distro, Music Gateway can also provide publishing, licensing, promotion, and even mastering. Sounds great, doesn’t it?

Well, it might appear to be wonderful at first, but if you’re a prolific artist, this firm may end up costing you more than some other options, depending on which services you want to use. The first five tracks you upload won’t cost you a dime, at least not upfront, but the company does take 20% of revenues. If you want to share more than five tunes–which you probably will in any given month–the price jumps to $22 per month. That may sound steep, but at that level, Music Gateway also gives artists a greater share of the revenues generated from all activities. A third tier climbs even higher from there to $37 a month, but that might only be a good fit for labels.

If all you want is a company to distribute your creations, Music Gateway might not be the best choice. If, however, you’re looking for a one-stop shop to handle many technical aspects of your musical career, you might need look no further.

RouteNote might not be the most popular distribution company when it comes to music, but it does have a very simple free service that is a great choice for artists just getting started in the industry. The site allows any musician to quickly and easily upload their new tunes and distribute them to up to 200 online stores and platforms (previously it was just 50) across the web.

RouteNote doesn’t charge for artists to upload and distribute their art, but it does take 15% of royalties once money starts pouring . . . or dripping, perhaps . . . in. It’s not too high a figure, but if 15% doesn’t make you happy, you can opt to pay an upfront fee and a subscription fee allowing you and your band to keep every cent you make after you’ve paid.

Many up-and-coming artists have made a name for themselves by covering songs that have already topped charts all around the world, and in today’s world, a clever rendition of a popular tune can catapult a no-name act to relative viral fame in no time.

Whether it’s on YouTube, Spotify, or the dozens of other streaming outlets, a perfectly-executed cover or interpolation of a well-known track can truly be a game-changer for many acts. It can also be complicated. Sometimes the original artists request the cover be taken down, while others demand a full share of the money made from a song, even if the music is entirely new.

Soundrop clears all this up, as the company has created a system for licensing cover songs which makes it easy for any artist to record and release their take on almost any tune. Musicians no longer need to track down who owns the rights and beg for permission or simply hope their work isn’t deleted after a complaint is filed.

Early on, Soundrop’s focus appeared to be on making covering songs easier for artists, but in the years since it became a noted player in the music industry, things have changed at the company. Now, the firm still offers those same services, but there’s so much more to take advantage of. Soundrop is also a music distributor, sending tunes and albums to all the major streaming platforms and download storefronts on the internet. Like some of its competitors, it only charges 15% of all revenues generated by the music it distributes. That can add up over time, but in the beginning, it’s a fantastic proposition, as it means they don’t make money unless the musician does as well.

There is also an option to pay just $0.99 to license and cover a song, split the royalties properly, and make sure it’s available everywhere. Not bad for a dollar!

Looking at all the companies included in this article, it’s possible that none are more fascinating than Sonomo. The startup offers digital music distribution, just as every other item on this list does, but that’s not its focus. In fact, it almost seems like an afterthought.

The distribution service, which reaches all the stores and streaming platforms that matter, is entirely free. No fees, no royalty splits, not percentages to worry about. That’s it–it really is 100% free. Sonomo is largely making a name for itself as a site where the average everyday person can invest in a musician’s songs, albums, or entire back catalog. This helps the creators earn some much-needed cash, and if things go well with a piece of music, everyone makes money.

This practice is nothing new in the music industry, but it’s not often seen at this level. Usually, there are investment companies pouring hundreds of millions into groupings of rights that include some of the biggest hits by the top artists in the world. Sonomo is taking that idea and bringing it to rising talents and those stars that have yet to be discovered…and apparently providing distribution along the way.

Just like Amuse, what makes Stem so interesting isn’t simply the fact artists can distribute their tunes for free. As is evidenced by this list, there are a number of options out there when it comes to distro for albums and singles, so if you’re on the hunt for one that won’t cost you anything upfront, why not focus on those companies doing something really neat and truly looking forward with their business plans?

Stem makes royalty payments incredibly easy, as the startup handles them for the musicians involved. Simply sign everyone involved up for an account — the Producer, Songwriters, and the actual artist fronting the track — and decide how the revenue will be split between the parties.

Once money starts coming in from download stores and streaming platforms, Stem will pay everyone on time according to the deals set, which means the teams that actually created the music can decide who gets what amongst themselves and then not have to worry about it ever again.

Once the money arrives, Stem does take 5%, which is still an incredibly low sum when looking at other industry options, and since it does handle a potentially painful and time-intensive task, it’s worth handing over a small percentage of royalties . . . if your music actually generates any, of course. Before earning income, everything’s free.

Yet another music distribution company to consider! UnitedMasters has two different options musicians can choose from, and they’re both fairly appealing. The first allows artists to pay nothing upfront, and the distributor only takes 10% of revenues generated by the work that’s placed on Spotify, Apple Music, Tidal, iTunes, and more. That percentage is lower than almost every other name on this list, so that’s certainly worth taking into account when making any decisions. Sadly, this tier only allows for one release per month, which may be a real drawback for many.

The second offering is called UnitedMasters Select, which doesn’t put a limit on how much music artists can share, though it does come at a price. For $60 a year (which is just $5 a month), musicians don’t need to worry about how much art they’re putting out into the world, they can split royalties with collaborators, producers, and songwriters, and best of all, the company doesn’t take a dime from whatever money is made by that work.

In addition to utilizing music distribution companies that upload your work to popular streaming platforms, there’s another avenue to explore – selling your music directly. Many distribution services ensure your music is available on major online stores like iTunes and Amazon, giving fans the option to purchase or stream your music as they prefer, or even both if they desire.

Selling music directly to your fans, known as direct-to-consumer (D2C) sales, can be a rewarding strategy. Taylor Swift has made millions from doing so, and you might want to follow her lead. By offering digital downloads of songs and albums, as well as physical products like CDs, cassettes, and vinyl (if applicable), you can cater to various audience preferences and create a more personal connection with your fanbase.

However, it’s crucial to manage D2C sales effectively. Ensure that you fulfill orders promptly to avoid disappointing your fans – nothing is worse for an artist than upsetting their supporters. So, while you explore this route to sell your music, maintaining a balance between online stores and direct sales can enhance your music career and expand your revenue streams.

When it comes to music distribution companies, their financial models generally fall into one of two categories. Some companies request an upfront payment from artists before distributing their music across various platforms. This upfront fee allows artists to distribute their work without sharing a percentage of their future revenue.

Alternatively, there are distribution companies that forgo upfront payments and, instead, take a cut from the revenue generated by the artist’s music. In this arrangement, the distribution company shares in the success of the music, and their earnings are directly tied to the performance of the artist’s work.

The choice between these two options is entirely up to the artist and their preferences. Some companies may even offer a hybrid approach, combining upfront fees and revenue sharing to provide more flexibility and tailored solutions to artists. Truly free music distribution services are relatively rare, and most established companies have some form of payment or revenue-sharing structure in place.

As you peruse these top-notch music distribution companies, think about the upsides and downsides associated with either of the two most popular revenue methods these firms use.

1. Unlimited Revenue Share – With no revenue-sharing agreement in place, artists are free to grow their fanbase and maximize earnings without sharing a percentage with the distribution company. This approach can be more favorable for artists with a substantial existing following or those who anticipate significant revenue from their music.
2. Budget Clarity – Paying an upfront fee provides clarity on the initial investment required for distribution. Musicians can budget accordingly and avoid any surprises or fluctuations in expenses associated with the distribution process.

1. Financial Risk – For some independent musicians, the upfront fee might be a significant financial burden, especially for those just starting their careers or on a tight budget. There’s no guarantee of immediate returns, making it a riskier option for artists unsure of their music’s commercial success. Even if it’s not a big sum, it still might be too much for some musical acts.
2. Limited Support – Some distribution companies offering upfront fee models might provide fewer additional services or promotional assistance since they’ve already received their payment. This could leave artists to handle certain aspects of marketing and promotion independently. Whether that’s actually a downside or not is up to you.

1. Lower Initial Investment – For cash-strapped independent musicians, this option can be more accessible. It allows artists to distribute their music without a significant financial burden, freeing up funds for other aspects of their music career.
2. Shared Success – Distribution companies invested in an artist’s success are motivated to promote their music effectively. By taking a cut of the royalties, these companies have a vested interest in maximizing the music’s exposure, potentially leading to increased streams and revenue.
3. Support and Services – Revenue-sharing companies often provide additional support, including marketing, promotion, and playlist pitching services. This can be particularly advantageous for emerging artists who may benefit from professional assistance in gaining visibility.

1. Reduced Revenue Share – While artists benefit from upfront cost savings, they must share a portion of their earnings with the distribution company. This could result in lower overall revenue compared to the upfront fee model, especially if the music performs exceptionally well.
2. Lack of Transparency – Depending on the terms of the agreement, artists might not have full visibility into how revenue is split or the distribution company’s promotional efforts. This lack of transparency can be a concern for artists who want more control over their finances and career trajectory. Many appear to explain how it works, but do your due diligence to make sure you understand it before signing anything.
3. Long-Term Costs – Over time, the cumulative amount shared with the distribution company through revenue sharing might exceed the cost of an upfront fee. Artists should consider the potential long-term implications of this arrangement.

Many years ago, distributing your own music was possible for artists, and in fact, it’s how many of them managed to put their records into stores everywhere. Once physical took a backseat to digital storefronts like iTunes and Amazon, those outlets often had pages explaining how to upload music, so every act could do it on their own.

It’s still possible with some stores and streamers, but most have now deleted those helpful resources, as it’s much easier for the vast majority of acts to go through one of the many approved distribution services. Streaming platforms also prefer this method, as they are inundated with new music constantly, and some don’t even accept music coming from individual people, as opposed to proper distro companies.

The idea of saving some money by going it alone and uploading your new songs or album to digital storefronts and streaming platforms might sound like a good idea, but it will require so much time and effort to succeed and with only some options available, it’s not worth it.

As you can see from the startups and companies I’ve profiled above (and there are plenty of other free services I didn’t have room to include and paid services we’ve previously discussed), there are many firms vying for your attention, your money, and your music. So save yourself the hassle and go with a distributor that knows what it is doing!

Curious about getting your music on streaming services? Check out our articles on how to get your songs on iTunes and Spotify.