When “Just Practice More” Becomes Harmful: The Real Story of Performance Anxiety
A student returns from a prestigious summer festival, discouraged rather than inspired. In one of their masterclasses, a teacher told them:
“There is no performance anxiety. There is only lack of preparation.”
On the surface, this might sound like tough love. But underneath, it is neither accurate nor responsible. In fact, this statement is profoundly harmful. It is not trauma-informed, it is not grounded in science, and it perpetuates damaging myths that push musicians toward shame, silence, injury, and burnout.
The Myth of “Just Prepare More”
Performance anxiety is not a question of preparation. Decades of research in psychology, neuroscience, and medicine have documented its reality. Musicians who are exquisitely prepared—those who have spent thousands of hours in deliberate practice—still experience physiological symptoms before and during performance (Kenny, 2011; Kageyama, 2010).
Elevated heart rate
Shallow or disrupted breathing
Sweaty palms
Tremors or muscle tightening
Racing thoughts or intrusive self-criticism
These are not signs of laziness. They are signs of a nervous system mobilizing under perceived threat. Performance, especially in high-stakes or evaluative environments, is a context where the body may interpret exposure as danger. Telling someone that their anxiety is just a lack of preparation not only denies the evidence—it invalidates their lived reality.
Why This Approach Is Not Trauma-Informed
A trauma-informed lens starts with safety, empathy, and recognition of the body’s responses. Saying “there is no performance anxiety” does the opposite.
It shames. Students hear that if they experience anxiety, they must not have practiced enough. This deepens cycles of self-blame.
It silences. Rather than speak honestly about what they feel, students learn to hide their struggles.
It dysregulates. Shame-based messages amplify nervous system stress. Instead of supporting calm, they push students further into fight, flight, or freeze.
It isolates. Anxiety becomes a private “weakness” rather than a shared human experience that can be worked with in community.
Trauma-informed teaching recognizes that performance contexts can activate not just nerves but histories of adverse experience, perfectionism, or systemic pressure. Dismissing anxiety erases this complexity and risks retraumatization. Somatic psychology pioneer Pat Ogden reminds us that trauma and anxiety live in the body, and ignoring the body in healing efforts risks retraumatization rather than recovery (Ogden, Minton, & Pain, 2006).
The Privilege Embedded in “Just Prepare More”
The idea that preparation alone removes anxiety assumes a world where:
Every student has equal access to private lessons, instruments, healthcare, and stable housing.
Bodies can practice for long hours without breakdown.
There are no systemic inequities shaping opportunity, attention, or support.
This is privilege talking. Students with chronic pain, neurodivergence, caregiving responsibilities, or financial barriers cannot simply “add hours.” For them, being told that anxiety is their fault compounds exclusion. The statement reflects not universal truth but the worldview of those with resources and positional power.
The Hidden Cost: From Anxiety to Injury
One of the most dangerous outcomes of this mindset is what happens when students internalize it.
They try to “fix” their anxiety with more practice.
They add hours in the practice room.
They drill passages beyond healthy limits.
They sacrifice rest, social connection, and body awareness.
The result is overuse injury.
Tendonitis, carpal tunnel syndrome, focal dystonia, back and neck pain.
Pain that interferes with daily life, not just performance.
And pain itself increases anxiety.
“What if my body gives out?”
“What if I lose my ability to play?”
“What if I fall behind?”
This creates a devastating cycle:
Anxiety → More Practice → Pain → More Anxiety
Many promising young musicians leave the field not because of lack of preparation, but because this cycle becomes unbearable. What began as an attempt to prove resilience ends as injury and despair.
The Danger of Speaking Beyond Expertise
It is critical to note: performance anxiety is a psychological and somatic phenomenon. Musicians are not automatically qualified to address it simply because they perform. Authority figures—teachers, clinicians, mentors—carry weight. When they speak beyond their expertise, they risk real harm.
This is not to say that musicians should not talk about anxiety. We should, and openly. But it must be done responsibly, grounded in research, and when necessary in collaboration with trained psychologists, somatic educators, and trauma-informed practitioners.
Performance psychologist Noa Kageyama underscores this point: when we misdiagnose the problem, we misdiagnose the solution. Anxiety in performance is not erased by more preparation—it must be addressed with strategies that include physiological arousal, attentional focus, and regulation skills (Kageyama, 2010).
A Better Way Forward
Validate Anxiety as Real
Performance anxiety is not weakness, and it is not a failure. It is a natural human response to risk, visibility, and pressure.Expand Preparation to Include Regulation
Preparation matters. But preparation is not only hours of practice. It is also:Rest and recovery
Somatic awareness and balance
Breath regulation
Rehearsing not just the notes, but the state you want to be in on stage
Center Safety and Belonging
Musicians thrive when they feel safe in their bodies and communities. Trauma-informed pedagogy creates environments where it is okay to feel, to express, and to seek support.Protect the Body as the Instrument
Healthy technique and pacing are as vital as musicality. Practicing through pain is not resilience—it is self-harm. Students must be taught to listen to their bodies, not override them.Share Responsibility
Institutions must bring in mental health professionals, body-mapping educators, and somatic coaches as part of the educational ecosystem. No one teacher should carry—or claim to carry—the whole responsibility.
A New Message for Students
Imagine if the student at that summer festival had heard this instead:
“Performance anxiety is real. It makes sense that you feel it. Preparation helps, but it’s not the whole story. Let’s explore how you can regulate your body, care for your nervous system, and build confidence step by step. You belong here.”
This message does not dilute standards. It strengthens them. Because artistry is not about denial. It is about presence, belonging, and the ability to express freely from a place of safety and strength.
Closing Invitation
Performance anxiety is not erased by shame. It is met by care. If you are a student struggling, know that your experience is valid. If you are an educator, know that your words matter more than you realize.
We can change the culture of music education. We can stop perpetuating myths that hurt, and start fostering communities where anxiety is not denied but integrated, where preparation includes rest and regulation, and where bodies and minds are honored equally.
What if the stage became not just a test of worthiness, but a place of belonging?
That is the future worth preparing for.
References
Kenny, D. T. (2011). The Psychology of Music Performance Anxiety. Oxford University Press.
Kageyama, N. (2010–present). The Bulletproof Musician Blog. Retrieved from https://bulletproofmusician.com
Ogden, P., Minton, K., & Pain, C. (2006). Trauma and the Body: A Sensorimotor Approach to Psychotherapy. W. W. Norton & Company.
Weinberg, R. S., & Gould, D. (2014). Foundations of Sport and Exercise Psychology. Human Kinetics.