Thoughts · 13 July 2026
Stage Fright — The Battle Against Fear
Why one should play everything ten per cent slower on stage, and what the fight-or-flight response has to do with it.
Standing on stage as a musician brings a kind of tension that cannot be replicated in practice. Where practice is a controlled environment in which mistakes can be corrected without immediate consequence, the stage is a public space in which every action is scrutinised.
Performance anxiety stems from the fear of being judged and of losing social standing. It triggers the body’s fight-or-flight response, preparing us either to confront the perceived threat or to flee from it. It causes a raised heart rate, sweating and a sensation of time slowing. Understanding this response is the first step towards mastering it.
Evolutionarily it comes from a situation of danger, where during our forays into the forest we might suddenly meet a dangerous animal. Nature developed two possibilities: to play dead, or to face the danger and either fight or flee quickly. In such situations all bodily resources are needed, the legs above all. The mechanism makes us faster, and time seems to pass more slowly — a phenomenon every musician knows who has looked at the clock before an important concert.
This is why we should play everything ten per cent slower on stage. It will sound too slow to us but will be the usual tempo. Inner perception deceives us in these moments, and knowing this helps us stay calm.
Repeated exposure to performance is the most effective way to reduce anxiety. Soloists who play a concerto several times in a season experience a marked reduction in nervousness after the first performances. By the twentieth they may feel only excitement and pleasure. For young musicians, regular platform experience is therefore decisive.
Understanding the difference between conscious and unconscious playing is the key. Often we practise so thoroughly that playing becomes an automated process. That automaticity disappears once we are aware of being watched. It is therefore important to identify the places in a piece that demand full conscious attention, letting the rest run more automatically — like a pilot who takes manual control for critical manoeuvres.
Beta-blockers are sometimes used, but should not be seen as a substitute for thorough preparation and experience. They can reduce the physical symptoms but cannot make a mediocre musician better. Musicians well established before the pandemic often experienced a resurgence of anxiety after a long break from live performance — a clear indication that regular stage experience is indispensable.
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