The link in bio for musicians

The second problem is timing. Release week traffic and normal-week traffic want different things. In release week the single is the whole point. Three weeks later the people arriving are more likely to be looking for tickets, and the page still leads with a song they already heard.

Both of these are ordering problems dressed up as content problems. The page has the tour dates on it. They are just in position six.

These are the blocks link2l.ink offers musicians and bands first, in the order it offers them. The editor puts this set in front of you when you pick your line of work, so the page below is what you get rather than a template you have to assemble.

1. 1Music block

   The current release, embedded so it plays on the page

   A track that plays where the visitor already is keeps them on a page that also has your tour dates on it. A link that opens Spotify ends the visit.

2. 2Event block

   The next show, with the city and the date visible before the tap

   Ticket intent is the highest-value thing on a musician’s page and the most time-sensitive. It also expires by itself, which is the point of scheduling it.

3. 3Video block

   The most recent video, live session or visualiser

   Video converts a listener into a follower more reliably than audio does, but it asks for more attention, so it sits below the thing that asks for less.

4. 4Product block

   Merch, vinyl, or the thing with a margin on it

   The people who scroll this far are the people who buy. Putting merch at the top does not sell more of it; it just makes the page feel like a shop.

Why the order is the whole argument

Almost nobody in this category is missing a block. The tour dates, the newsletter, the booking link: they are on the page. They are just below three things that get fewer clicks, and every visitor pays for that. Ordering is the cheapest improvement available to most pages and the one nobody makes, because making it by hand means noticing something changed.

Music traffic is spikier than almost any other category. A page that is right during release week is wrong by week four, and the fix is always the same manual reshuffle that nobody remembers to do.

Behavioural ordering does the reshuffle from what people actually click. When ticket clicks overtake stream clicks, the tour block moves up on its own, and it moves back down when the run sells out. You are not predicting the shift; you are just not having to notice it.

The per-source ordering matters here too. Someone arriving from a TikTok clip and someone arriving from your mailing list are not the same visitor, and they do not click the same thing. On a paid plan each source gets the order its own crowd clicks.

The mechanics are the same for everybody and are written up in full on the adaptive link in bio page: recent clicks count more than old ones, a rate measured on a handful of views is pulled hard toward the average so a single tap cannot rearrange anything, and nothing reorders at all until there is enough traffic for the ordering to mean something.

• Leading with every streaming platform as a separate link. Eight platform buttons is eight ways to leave. One embedded player plus a single "listen elsewhere" link does the same job and keeps the visit.
• Leaving last year’s tour up. A dead tour link is the most common broken link on a musician’s page and the most damaging, because the person who tapped it had money out. Give the block an expiry date when you add it and it removes itself.
• Treating the mailing list as an afterthought. It is the only audience you own. Platforms change their reach algorithms; an email address does not. It does not need to be at the top, but it needs to be on the page.

If you want the general version of this rather than the one for musicians and bands, how many links covers the pruning question and why nobody is clicking works through the diagnosis in order.