Why Singers Get Nervous

Why do singers get nervous on stage? While the reasons might be many, at the root of those nerves are a host of feelings, thoughts, expectations, and insecurities that stem from the personality of the individual, a lack of training and/or preparedness, and misdirected focus.

Though they are often used as such, 'nervousness' and 'stage freight' are not synonyms. Stage freight refers to extreme anxiety related to being (performing, speaking) in front of an audience. Typically, an individual with genuine stage freight would not find himself/herself on a stage - he/she would not voluntarily set foot on one - but if the individual manages to convince himself/herself to give it a try (or is forced to), he/she 'freezes' (or runs off stage) and is unable to speak or perform. When a singer is suffering from nervousness, he/she may experience a pounding heart (rapid heart rate/palpitations/fluttering), sweaty palms, 'butterflies' in the stomach, a 'lump' in the throat, etc. in response to stress and excitement, but the symptoms are milder than they are with stage freight. The nerves might cause the singer to lose his/her place in the song, forget lyrics, engage in an ongoing internal dialogue, or demonstrate poor technical execution of the song, but the show still goes on.

Below, I've listed some common reasons why singers get nervous before and during performances:

1. THEY CARE.

Singers get nervous because they want to do well; to do their best. They take pride in their work and they desire to succeed. They don't want to disappoint their audience, their fans. They want to win over new fans. They want the reviews and on-line comments to be positive because they know that their reputation and the future of their careers are on the line. Sometimes nervousness isn't about anxiety so much as it is about being conscientious, and conscientiousness can be harnessed to make the singer's performance truly great.

2. THEY LACK PERFORMANCE EXPERIENCE.

It is human nature to experience some degree of anxiety and stress whenever we are trying something for the first time, and perhaps some residual nervousness in subsequent early attempts. Most singers find that they feel very nervous before and during their first performances, but that their nervousness lessens in intensity with the more performances they have under their belts. This principle tends to apply to most new experiences in life. The more we do it, the more confident and comfortable we become when doing it. If too much time passes between performances, the singer may feel as though he/she is starting all over, so it's important to find opportunities to perform regularly (e.g, on a church worship team, open mic nights, etc.).

3. THEIR TECHNIQUE IS NOT SECURE.

When singers are uncertain of their vocal abilities and when their voices lack consistency and control, they tend to get nervous. This is because they fear what might happen on stage and don't trust their voices to cooperate when it counts most. In their minds, they play out all the possible mistakes they might make and the worst case scenarios, and they focus their attention on the problem areas of their technique or that part of the song that they don't yet sing well or consistently. Will they be able to sing that high note? Will their voice 'break' or crack? How will the audience react? How embarrassing will it be? Will it lead to bad comments and/or reviews, or the inability to play at that venue again? When the singer's technique is not secure - when it has not been developed to a certain degree through training, to the point where it is consistent and predictable - he/she feels a sense of heightened anxiety surrounding performances because vocal control feels evasive and mysterious, as though it's a matter of luck.

When the requisite vocal skills have been mastered, they can be skillfully applied to repertoire. Only when the singer has complete trust in his/her voice - that it will 'cooperate' fully during the performance - will he/she feel confident in his/her ability to perform well. Technical consistency builds confidence in the singer, and this consistency is the manifestation of the preparation, dedication, and hard work that takes place in the months and years prior to the performance - during the singer's vocal training. When he/she is able to consistently sustain that high note with the desired quality, is not worried about running out of air during that long vocal phrase or whether his/her pitch will be correct on that vocal riff or interval, etc. the performance becomes much less mentally and emotionally daunting.

4. THEY ARE NOT FULLY PREPARED.

Preparedness implies more than simply picking the right gown/outfit and getting one's 'look' just right for the show. Preparedness entails learning the melody, memorizing the lyrics, and knowing the planned song arrangement well, and then singing the song or rehearsing the set over and over again. Preparation also involves wisely selecting songs that suit the singer's voice, and sometimes making some changes to repertoire to match the singer's current abilities. Sometimes it means that the key is lowered, a vocal riff is simplified, a note is sung lighter, a song is removed from the set list, etc.. If any part of the song is going to cause anxiety, it only makes sense to remove the source of anxiety when time doesn't permit further technical development. (Otherwise, developing his/her technique so that these modifications or simplifications are not necessary is the first step in preparing for the performance.)

Some coaching on how to present themselves and effectively engage an audience (e.g., attending boot camps or receiving some private coaching from Tom Jackson Productions can do wonders for singers who feel awkward on stage and don't know what do with themselves when all eyes are on them. It provides the singer with training in 'creating moments, which will prevent emotional misdirection - when the audience members are distracted by the performer's awkwardness or nervousness, to the point where they feel awkward or embarrassed for the singer, which prevents them from experiencing the desired emotional response to the performance.

5. THEY HAVE NERVOUS (ANXIOUS) PERSONALITIES.

In my line of work, I encounter individuals of every personality type, all striving to achieve the same goal: to share their voices with others. Oftentimes, one imagines the singer as being poised and confident, fitting the extroverted personality profile, and even wildly charismatic. However, countless vocalists are actually shy, reserved, introverted, socially anxious, or otherwise uncomfortable within their own skin. And yet they share with their more outgoing peers an insuppressible, unquenchable, burning passion to sing and to perform in front of an audience.

Many singers are naturally inclined to fear the worst, especially in social situations. They fear something bad or unpleasant happening while performing the feared activity - whether that's talking with a stranger on the phone, meeting new people, filling out forms, or singing in public. When on stage, anxious individuals often engage in an ongoing, distracting, and detrimental internal dialogue throughout their performance. Not only do they analyze their vocals in real time, but they might ruminate on the mistakes, continually remind themselves of what they should be doing, etc. during the performance, which doesn't free them up to engage the audience or enjoy the experience.

Some singers are naturally inclined to focus on details - some even become obsessed over details. They are very concerned with making sure that all their 'ducks are in a row,' and they feel a sense of uneasiness when they are not. There is a risk, however, in getting too caught up in the details, as the singer may fail to see the bigger picture and miss out on the experience.

6. THEY THINK OF THEIR VOICES AS SOMETHING TO BE GUARDED - BECAUSE THEY ARE PROTECTING THEIR DELICATE EGOS.

Because we care, we want to sound good when people hear us. We fear their judgment and criticism. We fear their scoffing and laughter. We fear being flawed and having it pointed out to us because our voices emanate from deep within us, and they represent who we are on the inside. Our voices are highly personal and sharing them with others is an intimate activity. So, we have a natural instinct to want to protect ourselves from criticism and the emotional pain that it triggers. We guard our sound, and in so doing, we are guarding our delicate egos - protecting them from further damage.

More and more, I'm convinced that our earliest experiences with voice use play a powerful role in how we think about our singing voices today, as adults. Those who grew up in an environment where 'children should be seen and not heard,' or where they were constantly being reminded to use their 'inside voices' and to keep their tone, volume, and choice of words in check tend to feel a strong need to control their sound. They fear the consequences of 'inappropriate' voice use. Those who were encouraged to vocally express themselves and who were not shamed for being too loud and boisterous as children tend to grow up feeling like they have permission - the 'right' - to use their voices as they please, and they do so unapologetically. They view their voices as useful and powerful tools (or weapons!), rather than delicate ornaments or knick-knacks that are only to be taken off the shelf occasionally and treated very carefully and gently for fear that they'll break or 'offend' someone. (Of course, these are just generalizations based on many of the students that I've worked with over the years, not hard and fast rules.)

7. THEIR FOCUS IS MISDIRECTED.

Singers get nervous because they care. But is their caring misdirected (i.e., caring about the wrong things)? Most singers are woefully egocentric - they are convinced that the performance is all about them. They forget (or don't realize) that giving a performance is about so much more than just their impressive vocals, their popularity or 'coolness,' their 'hot' bodies or attractive faces, their personal style, whether or not they've successfully branded or marketed themselves, whether they look and sound the part, etc.. (This is especially true when the singer is part of a band, as the other musicians on stage are also key contributors to the overall performance.) It isn't that these concerns don't matter at all: They do factor into the overall 'package,' and they are part of the singer's unique identity.

In the end, though, it is all about the audience, not us. The audience just wants a show - a good show, of course, but a show nonetheless. The listeners, who have paid for tickets and have fought traffic, parking lots, crowds, and security to be at our show, want to be entertained. They want to be invited in and be made to feel like a part of the energy, and maybe even part of the band in some limited, vicarious way. We can't offer that experience to them if we are only focused inward, entertaining ourselves, or 'screaming' for their attention like school children frantically waving our hands and bouncing out of seats in order to be called upon by the teacher or picked first for a team. If singers are convinced that the show is all about them, they have that much more pressure on them to be everything that they feel the audience is demanding, and this self-imposed (internal) pressure will lead to nervousness. Singers must always remember that the audience and its experience are more important than their own.

8. THEY HOLD THEMSELVES TO HIGHER AND DIFFERENT STANDARDS THAN THEIR AUDIENCES DO.

As artists, vocalists invest a great deal of 'blood, sweat, and tears' (not to mention time and money) into developing their skills and building a unique sound. They understand that honing their technique and giving a stellar vocal performance are critical to the success of their performances and careers. Singers focus on their vocals because they are the one element of the performance over which they have the most control. Sometimes, however, singers hinge too much on the perfection of their vocal performances, and in so doing, they place unnecessary pressure on themselves. Of course, no one wants to give an embarrassing vocal performance, and no one wants to sit through a performance that is painful to listen to or watch. (The standards of a more seasoned vocalist whose performances are 'higher stakes' should be higher than those of the new singer who is just getting his/her feet wet and still has a lot of vocal development ahead of him/her. The standards for recorded vocals must also be higher.) We should aim to impress with our vocals, certainly.

However, our vocals are just one part of what the audience observes and experiences. Lamperti (Vocal Wisdom, p.28) is quoted as having stated, "It matters not whether your voice be phenomenal or even beautiful, if it expresses the music and the words you will have an interested audience." There is something deep inside the singer - something impalpable - that has just as much ability as perfect vocals to draw in the audience. There are singers with mediocre vocal skills who attract an enormous fan base because they possess this 'je ne sais quoi,' while there are brilliant vocal technicians who give technically unflawed performances but nevertheless fail to captivate audiences because there is something missing on a deeper level. This is because there is more to a vocal performance than technical execution alone - sustaining that note beautifully and steadily, avoiding a register break, having well-defined vowels and accurate intonation, not running out of air before the end of a long passage, and staying on pitch during that complex vocal riff. These skills certainly help more than they hinder. However, the audience factors in many aspects of the performance when determining its overall merit. This isn't to suggest that the 'little things' never matter. But that one sour note that renders the performance technically imperfect must be kept in perspective - measured against the overall performance and how it aurally, visually, and emotionally impacts that audience.

An important reminder that I give my students who tend to get really down on themselves for being less than vocally 'perfect' at times is: The average audience member is not nearly as hyper critical of our vocals as we imagine him/her to be. It isn't necessarily that their standards are low: It's just that, from their vantage point, they see and appreciate the 'bigger picture' better than we tend to because we're so focused on just one part of the performance and tend to be our 'own worst critics.' The audience's idea of 'good' is also not necessarily based on education, training, or appreciation of all that vocal technique entails: Instead, it is often based on what they, personally and subjectively, find aesthetically appealing or impressive, which means that they may not be listening to or judging our voices in the same ways that we are. They know what they like and what they don't like, even if they are unable to put it into words (describe it). I am not suggesting that all music lovers are musically uneducated and have poor taste, thereby giving singers a 'free pass' on their vocals. Of course, they'll notice consistently poor intonation and pervasively unpleasant tones, and a lot of technical flaws will factor into their overall assessment of the performance - even musically uneducated listeners have a certain tolerance threshold for bad singing - but they might not be dwelling on the small errors as much as we are if the performance is otherwise impressive, entertaining, and enjoyable on the whole.

The audience is actually rooting for us - not to fail, but to entertain. The audience wants us to succeed, and it wants to be invited into the experience, to be convinced, to be moved. Remember that the performance is about the listener first and foremost.

9. THEY ARE PURSUING THE WRONG GOAL.

Serious singers are driven by an urge to reach their full potential as vocalists and as artists and performers. They don't want to settle for mediocrity - for just 'getting by' - and 'average' is simply not good enough. We analyze and nitpick, and find (and dwell on) every possible mistake that we make as vocalists so that we can keep improving and offer our best. We practise, and repeat, and refuse to stop practising until our voices are sounding like the ideal that we have imagined. And then we practise some more.

As singers, we strive for excellence in our vocal performances. However, many singers confuse the pursuit of excellence with the goal of perfection. 'Perfection,' is an unrealistic and impossible goal (if not a bit of a vague and elusive one when it comes to the Arts). Humans are inherently imperfect. Perfectionism is characterized by pressure, doubt, judgment, criticism, a need (and demand) for control, fear of (and focus on) failure, 'all or nothing' thinking and inflexible attitudes (e.g., it refuses to accept anything shy of perfection), and it views criticism as a pointing out of the fact that it is 'missing the mark' (failing at achieving its goal of utter perfection). For perfectionists, their identity and the value that they place on their own self-worth are tied (wrapped) up in what they do and how well they perform, so every mistake is viewed as a reflection of how imperfect and inadequate they are. Perfection as a personal standard stalls progress because it focuses not on the little successes along the journey or on how much has already been accomplished, but on the imperfect state of the singer's vocal technique and how far from its goal it is. Perfection, when not attained, leaves singers feeling defeated and devastated.

Excellence is a quality or skill that surpasses ordinary standards - it demonstrates consistently high performance - but is not necessarily characterized by 'perfection.' Pursuers of excellence enjoy meeting high standards that are within reach, are satisfied with a job well done (knowing that they have done their best), and value themselves by who they are, not by what they do or how well they perform. Excellence is characterized by confidence and acceptance, and it is encouraging, adaptable, dynamic. It is open to accepting criticism (from which it grows and improves), and it learns from failure as much as it learns from success. The pursuit of excellence is a continuous process, not an accident, 'luck,' or a 'natural gift,' and it reflects consistent daily habit.

Instead of striving for perfection (however that might look and sound to the individual), singers should strive for excellence in what we do. Having a prevailing attitude of excellence means that when we make a mistake - as we inevitably will at some point - we will not beat ourselves up about it (especially while still in front of the audience) and we find a way to learn from it. A healthy mental attitude will help us keep our inherent imperfection in perspective. We are all works in progress, and anyone who claims to be perfect is fooling only himself/herself.

HOW CAN SINGERS STOP FEELING SO NERVOUS?

Apart from being adequately trained and fully prepared, (which will boost their self-confidence and remove many of their doubts and concerns), and adjusting their mindset and expectations, there are a few tools that singers can use to help them deal with the ongoing psychological aspects of nervousness:

1. VISUALIZATION (MENTAL REHEARSAL).

No, I'm not talking about imaging the audience members in their underwear. I doubt that this strategy has ever worked for anyone. What I am suggesting is that the power of the mind to steer the singer toward a favourable outcome is impressive and should be harnessed. Visualizing the upcoming performance, mentally walking yourself through each song and how you'd like it to go - from the vocals to your movement to your interactions with other musicians on stage to your thoughts and feelings, to the sounds that you hear, etc. - can really help you feel more prepared. Just make sure that you are not being so specific that you might be thrown off during the actual performance if things are not precisely as you imagined them. Envision all the actions through a first person perspective, rather than as though you're having an out-of-body experience. If your imagination starts to steer you toward mistakes or misdirected focus (e.g. feelings of anxiety, unfavourable reactions from the audience, singing flat on that troublesome note, etc.), stop the mental rehearsal and go back. Don't reinforce the negative thoughts as they will only strengthen your feelings of nervousness.

Mental rehearsal can also help improve your performance. A frequently cited classic study (Vandell RA, Davis RA, Clugston HA: The function of mental practice in the acquisition of motor skills. J Gen Psychol 29:243-250,1943) showed the impressive benefits of mental rehearsal. For one month, the first test study group practised shooting basketballs into hoops for one hour a day, those in the second group merely visualized themselves making free throws, and those in the third group did nothing to improve their skills. Not surprisingly, those who neither practised nor visualized showed no improvement in their performance. Both those who physically shot hoops every day and those who envisioned themselves successfully making the shots, however, demonstrated near equal improvement (24% and 23%, respectively).

It is not being suggested that the singer skip vocalizing and simply rely on mental rehearsal to improve his/her vocals. Instead, combining physical practice and visualization, in which the singer hones his/her vocal skills through daily practice and also imagines a poised, confident, successful performance, can go a long way in changing the emotional and mental patterns that tend to cause nervousness and lead to mistakes during performances.

2. BECOME AN ACTOR/ACTRESS.

Many singers find that playing the role of a confident rock star or poised, self-assured opera diva (i.e., as though they are actors playing parts in a theatre production) helps them to feel more comfortable on stage. It helps them feel less vulnerable when they feel as though they are taking on a character - the kind of 'character' that they envision themselves being - rather than feeling like they are being themselves (nervous, awkward, inexperienced, imperfect, etc.). Now, this might seem like a bad idea to pretend to be something that you are not. After all, isn't the audience interested in who YOU are as singer and artist? This is true. I would never suggest that a singer be something that he/she is not. Instead, the singer should base his/her 'character' on who he/she imagines he/she would be if nerves were not an issue - on his/her potential self - uninhibited, undistracted, poised, confident, self-assured, 'cool,' experienced, not concerned about anything but connecting with the audience, enjoying the moment, someone whom the audience already adores, etc.. When the singer stops thinking that he/she hasn't yet earned the privilege to be on stage - many singers who are not technically perfect, physically attractive, etc. feel like they are undeserving of the attention, frauds, imposters, etc. - they give themselves permission to act as though they deserve the attention and recognition. Many inward-drawn singers find that they are able to become energetic, outward-focused performers who lights up the stage when they use this tool.

3. REHEARSE MORE OFTEN IN FRONT OF OTHERS.

Letting others hear you sing, even the most unpolished version of your vocals, is another way to help take some of the pressure off yourself to be perfect, as well as another way of gaining more experience. Invite friends and family members into your rehearsal space, or bring your rehearsal into the living space that you share with others. This may mean singing within earshot of others (e.g., perhaps a neighbour on the other side of the apartment wall). Encourage the doors to be open and others to 'audit' your sound checks.

I've known perfectionists who were so concerned about making mistakes or imperfect sounds in front of their singing teachers that they wasted a lot of time during lessons that could have been spent receiving helpful feedback that would facilitate their growth as vocalists. Think of the voice studio as a safe place where you are going not to be judged and criticized for making unpolished, imperfect sounds but for getting help along your journey toward achieving your goals. You are taking lessons not because you are perfect but because you still have more to learn and need further vocal development, and that's what your teacher is there to help you with.

So, sing aloud as you're walking through your neighbourhood, the grocery store, or the shopping mall. Sing aloud while you're washing your hands in a public bathroom. Here, you are not performing, so the pressure for you to be 'perfect' or 'excellent' is off. And very likely, your singing with abandon, (even if it's not perfect), will bring unexpected joy to someone else who overhears you.

4. PERFORM IN LOW-PRESSURE ENVIRONMENTS.

Perform in places where the audience is filled with people rooting for you: family reunions, church, etc.. Post unlisted videos to YouTube or recordings on Sound Cloud and send the direct links only to those on your friends and family lists. If you are truly interested in pursuing excellence and growing and improving, invite their objective feedback. The people who love you will be honest but kind because they want to help you reach your goals. (And it would be in your best interest to listen with an open mind, without taking the criticism personally.)

Find other, unconventional places for gaining more performance experience. Another singing teacher whom I know once took his wife and four children into the centre of the city in which they live to do some busking. They were not singing for their food, and no one was likely to later write reviews of their performance, so there was no pressure to be amazing, other than whatever pressure they might have placed on themselves to perform well. The audience didn't even know their names. When busking, performing at small open mic nights, local cafés, etc, the listeners' responses to the music that they are hearing can help the singer both work through his/her fears and understand in which areas of performance he/she needs further growth and development.

5. AVOID EYE CONTACT.

When developing social skills we are always instructed to make eye contact with others. Singing is about communication, and the same rule applies. However, it is also an activity that leaves the individual feeling very vulnerable and emotionally 'naked,' exposed. Making eye contact with strangers while singing from your heart may increase your level of nervousness, and cause you to lose your concentration. In this situation, it often helps to look indirectly at the audience members - at their foreheads or chins, for example. The listeners will be convinced that you are looking directly at them - looking them in their eyes - but you won't find the experience as intimidating.

6. COLLECT YOURSELF.

Taking a few quiet minutes immediately before stepping out on stage to focus your mind, take some deep breaths, meditate, pray, compose yourself, stretch, etc. can make a world of difference in terms of how mentally prepared and calm (excited but not anxious) you'll feel when you step out onto the stage. If there are others around (e.g., fellow bandmates or accompanists, other performers) who are talking or trying to start conversations with you, step away to a quieter place and take your moment to compose yourself and focus.

Some might view nervousness as a 'rite of passage' that all singers must experience early on in their performance careers. The good news is that, in time, the singer's confidence grows and his/her nervousness does tend to dissipate over time, especially as his/her vocal technique improves, as he/she performs more, and as he/she begins to change his/her thinking and attitudes about performing. The more inward-drawn singer and even the introverted or anxious singer may soon start to call the stage 'home' and the audience 'family.'