The guide
A music release is not limited to a single app. Listening habits vary depending on the country, the devices used, and the audience: Spotify may play a central role for some artists, while Apple Music, Deezer, Amazon Music, or regional services may be used more by other listeners.
Dibsteur allows artists, labels, and managers to distribute their music to more than 35 platforms and digital services from a single solution. This distribution includes major streaming platforms, as well as services that are particularly well established in certain regions of the world, social networks, and tools related to the use of tracks.
The artist therefore prepares their project once before selecting the available destinations for their release. They do not have to organize distribution to each service independently.
However, not all music distribution platforms serve the same purpose. Some are primarily used to listen to singles and albums, others play an important role in music discovery, while TikTok, Instagram, or Facebook also allow music to be used in content created by users.
Dibsteur makes it possible to make the same project available on very different services. This variety is particularly useful for an artist whose audience is not limited to a single country or a single way of listening to music.
Spotify is currently one of the largest music streaming services in the world. In the second quarter of 2026, the platform reported 777 million monthly active users and 300 million Premium subscribers.
For an artist, Spotify is not only a place to host a catalog: the platform also relies heavily on playlists, personalized recommendations, and discovery tools. Dibsteur makes it possible to distribute singles, EPs, and albums there.
For the steps specific to Spotify, we already have a complete guide explaining how to put your music on Spotify.
Apple Music is part of the Apple ecosystem and integrates with iPhone, iPad, Mac, Apple Watch, and CarPlay, among others. The platform also stands out for the importance it places on audio quality, with Lossless and Spatial Audio with Dolby Atmos.
It is therefore an important destination for artists who want their catalog to be available within the Apple environment, with a complete presentation of albums, credits, and releases.
Dibsteur makes it possible to include Apple Music among the platforms selected for the distribution of a project.
Deezer remains particularly important in France. In the first half of 2026, the service reported 3.9 million direct subscribers in France, up 8.4% year over year.
The platform is based on on-demand listening, recommendations, editorial playlists, and music discovery tools. For a French or French-speaking artist, Deezer therefore remains a platform to consider alongside the major international services.
Dibsteur makes it possible to distribute singles, EPs, and albums there.
Amazon Music is part of the Amazon ecosystem and benefits in particular from its integration with devices that use Alexa.
Its appeal therefore also comes from uses that differ from the traditional smartphone: smart speakers, voice commands, and compatible home devices. For an artist, being present there makes their catalog accessible in this environment in addition to traditional streaming apps.
TIDAL has positioned itself strongly around audio quality. The service currently reports more than 180 million tracks and offers lossless FLAC, HiRes FLAC at up to 24-bit / 192 kHz, as well as Dolby Atmos.
The platform therefore attracts listeners who are particularly sensitive to listening quality and also offers plans for DJs.
Dibsteur makes it possible to make a catalog available on TIDAL as part of its distribution.
YouTube combines several uses around music: listening to tracks, music videos, official videos, user-created content, and the dedicated YouTube Music service.
This variety sets it apart from a platform focused solely on audio streaming. The same track can be officially distributed but also appear in other videos.
Dibsteur also offers YouTube Content ID in certain plans for eligible tracks. How claims and monetization work is explained on our YouTube Content ID with Dibsteur page.
SoundCloud holds a unique place in the independent music ecosystem. In 2025, the platform stated that it hosted more than 400 million tracks from more than 40 million artists.
It has historically been widely used by producers, DJs, emerging artists, and independent scenes, with a stronger community dimension than some general-purpose platforms.
For some projects, SoundCloud can therefore play a role both in distribution and discovery.
Pandora remains closely tied to the U.S. market and its historic personalized radio model.
As of June 30, 2026, Pandora had approximately 39.8 million monthly active users and 5.6 million subscribers.
Its recommendation and radio model makes it a different environment from Spotify or Apple Music. For an artist targeting the North American market, being present there can therefore usefully complement international distribution.
Napster is one of the historic names in digital music, but the service has changed significantly over the years. Its current version presents itself as a platform combining music, audio content, and tools based on artificial intelligence.
Its presence in a distribution network makes it possible to keep a catalog available through a service that continues to exist in a form very different from its beginnings.
Anghami is one of the major streaming services in the Middle East and North Africa.
The company currently reports 120 million registered users, more than 100 million songs and podcasts, and a presence in 16 countries.
For an artist looking to develop an audience in this region, Anghami can therefore be far more important than its level of recognition in France might suggest.
JioSaavn is a service strongly associated with the Indian market and its immense musical and linguistic diversity.
Its catalog combines international artists, Indian music, and content in several local languages. For an artist beginning to build an audience in India, being present on JioSaavn therefore makes it possible not to rely solely on Western platforms.
Tencent Music is one of the leading digital music groups in China and operates several services within its ecosystem.
Because China has its own listening habits and dominant platforms, being present on this type of network is particularly important for distribution that truly aims for international coverage. Tencent Music also continues to publish quarterly results specifically for its music business in 2026.
NetEase Cloud Music is another major player in Chinese music streaming.
Its value complements Tencent Music: it makes it possible to be present in a market where Western services do not necessarily shape listening in the same way as in Europe.
For an artist distributed internationally, this type of platform can therefore become relevant as soon as an audience emerges in China.
KKBOX has historically been established in Asia and is particularly associated with markets such as Taiwan and Hong Kong.
Its value for an artist therefore comes less from global coverage than from its regional presence. It is exactly the type of platform that can become important when a project begins to grow in certain Asian territories.
AWA is a Japanese streaming service launched in 2015. In 2026, the platform reports a catalog of more than 200 million tracks.
It also stands out for community features such as AWA Lounge, which allows users to gather around live listening sessions and discussions.
For a strategy focused on Japan, AWA is therefore a much more specific destination than simply another global service.
Yandex Music is part of the Yandex digital ecosystem and holds a particular position in markets where it is widely used.
Like Tencent Music or AWA, its value comes mainly from its specific geographic coverage. Being present on Yandex Music therefore makes it possible to expand distribution beyond the platforms that dominate Western Europe.
iMusica is a long-standing digital music company in Latin America and belongs to the América Móvil group. The company describes itself as specializing in the management and distribution of digital content for the music and telecommunications markets.
Its presence is therefore particularly valuable for covering Latin America and digital services associated with telecommunications operators in the region.
MusicTime is a streaming service offered in particular within the MTN ecosystem in South Africa, in partnership with Simfy Africa.
Its operation is closely tied to mobile use and telecommunications plans, making it a good example of a platform whose model differs from the traditional subscriptions used in Europe.
For an artist, its value is therefore mainly geographic and related to reaching certain African audiences.
iHeartRadio is particularly well established in the United States and is built around the radio ecosystem of the iHeartMedia group.
The platform combines live radio, digital audio content, recommendations, and music. Its use therefore differs from a platform focused solely on listening to an on-demand catalog.
For distribution focused on the United States, iHeartRadio makes it possible to cover an additional audio environment.
Nuuday is a Danish telecommunications and digital services group. Its presence in Dibsteur’s distribution network is therefore more closely related to partner services and a telecommunications environment than to a global platform directly known to the general public.
It is typically a useful destination for expanding a catalog’s availability in certain Nordic markets.
UMA is one of the partners included in the distribution network communicated by Dibsteur.
TikTok is currently a major player in music discovery. In 2025, the platform stated that it had a community of more than one billion music fans. That same year, 84% of the tracks that entered the Billboard Global 200 in 2024 had first gone viral on TikTok.
In April 2026, the Add to Music App feature had generated more than 6 billion track saves to streaming platforms in just twelve months.
For an artist, TikTok is therefore less a traditional listening platform than an engine for discovery and the circulation of tracks.
Instagram uses music in Reels, Stories, and other content formats, among other places.
For an artist, making a track available in this environment allows users and creators to add it directly to their posts. Music can therefore circulate through content that is not necessarily centered on the artist themselves.
This presence therefore follows more of a discovery and social-use model than traditional album listening.
Facebook Audio Library makes it possible to make tracks available for certain uses in Facebook content.
The model is different from a service like Spotify: the user does not necessarily come to listen to an album but may use a track within video or social content.
For the artist, this allows the music to also exist within Meta’s content creation ecosystem.
Facebook Rights Manager has a completely different function from Facebook Audio Library.
It is a tool designed to help rights holders identify and manage matching content used on Facebook and Instagram. Meta explains that Rights Manager notably allows rights holders to control where and how their content is shared.
Its role is therefore closer to a rights management and content recognition system than to a streaming platform.
Dibsteur’s distribution network also includes Shazam, Mixcloud, Resso, Boomplay, and Snapchat, though we do not yet have enough official detail to describe each of them individually.
Not every listener uses Spotify. This simple fact becomes particularly important as soon as an artist begins to grow their audience. Part of their audience may primarily listen on Apple Music, another part on Deezer, while some markets use local or regional platforms more heavily.
Usage also varies depending on the context. Someone may listen to an album on a streaming platform, discover the same artist in an Instagram Reel a few days later, and then find a track again through a smart speaker.
Distributing your music across platforms therefore primarily makes your catalog available where your audience already is.
This does not mean that you then need to devote the same amount of energy to every service. An artist can distribute broadly while focusing their communication, campaigns, and promotional work on the platforms that actually generate interest around their project.
There is no need to prepare a release separately for Spotify and then repeat the same work for Apple Music, Deezer, or the other services.
The artist first prepares their project in Dibsteur with the elements required for distribution: audio file, cover artwork, and information associated with the release.
They can then select the available services to make the project available across multiple destinations.
Once distribution has been completed, Dibsteur also makes it possible to keep track of releases, particularly through detailed daily statistics and information related to revenue from distributed projects.
This centralization makes it possible to put your music on platforms from a single environment rather than managing each destination independently.
Being available on a large number of platforms and actively working on each of them are two different things.
For an independent artist, it may make sense to make their catalog widely available while focusing their efforts on a few priority services. A project listened to mainly in France may, for example, pay particular attention to Spotify, Apple Music, and Deezer without removing its music from other platforms.
As the audience evolves, priorities may also change. The appearance of streams in a new country can make a regional platform much more valuable than it was at the time of release.
The goal is therefore not necessarily to choose a single music distribution platform, but to have sufficiently broad coverage and then adapt the strategy based on the results actually observed.
Dibsteur currently makes it possible to distribute music projects to more than 35 platforms and digital services.
Yes. Spotify is one of the platforms available for the distribution of singles, EPs, and albums with Dibsteur.
Yes. Apple Music and Deezer are among the platforms to which Dibsteur allows you to send a music project.
Yes. Dibsteur also distributes to several services related to social networks, including TikTok, Instagram, and various services within the Facebook ecosystem.
They can become useful as soon as a project generates streams outside France. Some platforms have a particularly strong presence in regions where Spotify, Apple Music, or Deezer are not necessarily the only services used.
No. Some are on-demand streaming services, while others are more closely related to radio, social networks, certain regional markets, or managing how a track is used.
No. The same project can be made available on multiple platforms. The artist can then focus their promotion on the services that are most important to their audience.
