Services page examples for musicians

A services section has two jobs: help the right person recognise their problem, and stop the wrong enquiry before it reaches you.

Ten of them follow, written for musicians rather than filled in from a template. Your customer is a promoter, a booker, or a listener who just found one track, and what they are weighing up before they get in touch is booking a set that empties the room, from a description that told them nothing.

Straight list with a lead-in

## What I do I am a musician working across [your area]. **Live performance** — [one line on what this involves for you] **Session work** — [one line on what this involves for you] **Recording** — [one line on what this involves for you] **Teaching** — [one line on what this involves for you] **Composition** — [one line on what this involves for you] Not sure which you need? Listen to a set, then tell me the room and the night you are filling.

Use this as the default. It is clear and it ranks.

Organised by the problem

## What I can help with **[The problem, in their words]** → Live performance **[The problem, in their words]** → Session work **[The problem, in their words]** → Recording **[The problem, in their words]** → Teaching **[The problem, in their words]** → Composition If what is wrong is not on this list, ask anyway. I will tell you honestly whether it is mys to fix.

Use this when people describe a symptom, not a service name.

With prices

## Services and prices **Live performance** — from [$X] **Session work** — from [$X] **Recording** — from [$X] **Teaching** — from [$X] Prices are starting points, confirmed in writing before any work begins. I name the releases and where to hear them.

Use this if you will publish prices. It filters out the wrong enquiries before they reach you.

One flagship, then the rest

## Live performance This is most of what I do, and it is what I am best at. Describing the music in terms a listener recognises rather than a press release is the difference between doing it and doing it properly. **I also do:** session work, recording, teaching and composition. Listen to a set, then tell me the room and the night you are filling.

Use this when most of your revenue comes from one service.

What is included

## What is included Every show includes: - I name the releases and where to hear them - I say who I have played with - I keep upcoming dates on the page - [one more thing you always include] **Services:** live performance, session work, recording, teaching and composition. If something is not included, I say so in the quote rather than on the invoice.

Use this where customers have been stung by things that turned out to be extra.

For each customer type

## Who I work with **[Customer type one]** — live performance and session work. **[Customer type two]** — recording, teaching and composition. I am a performing and recording musician. Listen to a set, then tell me the room and the night you are filling.

Use this if you serve two clearly different groups.

Process-led

## How it works **1. Get in touch.** Listen to a set, then tell me the room and the night you are filling. **2. I agree it in writing.** Scope and price, before anything starts. **3. I do the work.** Live performance, session work and recording — whatever the show needs. **4. I finish.** I keep upcoming dates on the page.

Use this when the how matters as much as the what.

Short

**Live performance** · **Session work** · **Recording** A performing and recording musician. I name the releases and where to hear them. Listen.

For a homepage strip — Use this where services sit as three cards on the homepage, not a page of their own.

With the limits stated

## What I do — and what I do not **I do:** live performance, session work, recording, teaching and composition. **I do not:** [the things you turn down — be specific]. If that is what you need, [name someone who does it well] is who I would call. Saying so up front saves us both a phone call.

Use this to stop wasting time on enquiries you will only turn down.

Emergency and scheduled split

## Emergency [Response time], [hours]. Live performance and anything that cannot wait until Monday. ## Planned work session work, recording, teaching and composition. Booked in, quoted in writing, done on the date I agreed. I am a performing and recording musician for both.

Use this when urgent work and planned work are genuinely different offers.

Writing for musicians: what actually matters

What should a musician’s website say that a generic one does not?

Three things, in this order. That you are actively performing and recording. That you understand the thing people are actually worried about, which for musicians is booking a set that empties the room, from a description that told them nothing. And what happens next: listen to a set, then tell me the room and the night you are filling. Everything else on the page is decoration by comparison.

What does a promoter, a booker, or a listener who just found one track check first?

The credential, then the proof. For musicians it sounds like this. I name the releases and where to hear them. I say who I have played with. I keep upcoming dates on the page. Put at least one of those above the fold rather than on a separate page nobody opens.

What is the most common mistake on a musician’s website?

Writing about the business instead of the customer. "We have been established since 1998" answers a question nobody asked. "Listen to a set, then tell me the room and the night you are filling" answers the one they are actually holding. If you only fix one thing, fix that.

How long should the copy be?

Shorter than you think, except where trust is being built. An About page of 120 well-chosen words beats 500 vague ones. The exception is anything explaining booking a set that empties the room, from a description that told them nothing — there, specifics earn their length.

Everything else for musicians

Services page for other trades

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