Spotify Playlisting
Editorial pitching across global and territory jazz desks, paired with our independent jazz curator network. Save velocity tuned per track — the brief was placements that converted, not vanity adds.
Dr. Miriam Altman — Cape Town jazz pianist. Two recent campaigns, both 2×+ over goal: The Train at 120K+ streams against a 50K target, Don’t You Worry ‘Bout a Thing at 75K+ against 30K. Meta Ads, Spotify Ads, Spotify Playlisting — same playbook, repeatable result.
Dr. Miriam Altman is a Cape Town-based jazz pianist with a parallel career as an economist — a duality that shows in the music. Her catalog leans into thoughtful interpretation: original work alongside sharply-arranged covers, written and played with the kind of restraint that only comes from knowing exactly which note not to hit.
The brief into TMMA Black was repeatable rather than one-off: build a campaign template that could carry a single from release into algorithmic reach, hit a documented stream target, and then run again on the next release with the same shape. So far, two singles in. Both cleared.
The first single — Miriam’s reading of Stevie Wonder’s Don’t You Worry ‘Bout a Thing — came in with a 30,000-stream target across a 30 to 45-day window. The second — The Train, an original, more recent — came in with a 50,000-stream target on the same shape.
The mandate: don’t reinvent the campaign each time. Run a single repeatable playbook, prove it on the first release, then scale targets upward as confidence grew. Three channels, sequenced — Spotify Playlisting for editorial credibility, Spotify Ads for in-platform conversion, Meta Ads for off-platform discovery.
Editorial pitching across global and territory jazz desks, paired with our independent jazz curator network. Save velocity tuned per track — the brief was placements that converted, not vanity adds.
In-platform conversion. Audio-first creatives built around the most compelling 30 seconds of each track, served against similar-artist audiences in jazz and adjacent genres — with geo modelling per cycle.
Off-platform discovery. Short video assets routed through Meta’s targeting layer to lookalike and interest-based audiences. The Meta layer fed top-of-funnel volume that the Spotify layers then converted.
Headline figures from the two documented campaign windows. Numbers reported directly inside Spotify for Artists and Spotify Ads Studio.
Spotify Playlisting briefs out, Spotify Ads Studio campaigns built around similar-artist and geo audiences, Meta Ads creative live across lookalike and interest pools.
Best-performing creative identified per channel. Underperforming audiences pruned. Spend reallocated to the variants converting strongest into Spotify saves.
Playlist placements come online. Discover Weekly, Release Radar and Autoplay surfaces start to take handoff from the paid layers.
Original brief target hit at the 30-day mark. Decision: hold the spend steady through to day 45 to maximise the algorithmic tail rather than close early.
The Train: 120K+ streams on a 50K target. Don’t You Worry: 75K+ on 30K. Final report and learnings handed to Miriam’s team for the next release.
Performance numbers from both Miriam Altman campaigns are documented in four official reports. Reserved for verified partners and prospective clients, under NDA.
30–45 day stream trajectory for The Train. Spotify for Artists raw export.
Apply to view ↗Stream curve, save velocity and listener retention for the Stevie Wonder reading.
Apply to view ↗Impressions, reach, completion and CTR across both single campaigns — Ads Studio export.
Apply to view ↗Lookalike & interest-based audience performance, off-platform conversion into Spotify saves.
Apply to view ↗Reports are shared with verified prospective partners only. Apply to receive the deck.
We read every application personally. If there’s a fit, you’ll hear back from a partner within seven business days.