Performance Guru

One thing I've noticed after working with performers is how quickly many decide whether a performance has gone well.

Sometimes that judgement is made after a single mistake or an unexpected moment.

From that point onwards, everything else in the performance is viewed through the lens of that one event.

Yet performances are rarely defined by a single passage. The way performers evaluate their own performance is not always an accurate reflection of what actually happened.

One of the most interesting aspects of performance under pressure is not only what changes during performance, but also how performers interpret what they have just experienced.

One of the most common misunderstandings about performance is that performing well means performing perfectly.

Yet if we look closely at high-level performance, we find that outstanding performances are rarely flawless.

Instead, performers often distinguish themselves by how they respond to the inevitable moments that don't go exactly as planned.

Understanding this distinction changes how we think about consistency under pressure.

Many performers judge their readiness by how calm they feel before stepping on stage.

It's an understandable assumption. If you feel nervous, it's easy to conclude that the performance is already at risk.

Yet calm and readiness are not always the same thing.

Many performers deliver excellent performances despite feeling nervous beforehand. Equally, feeling calm does not automatically guarantee a successful performance.

This is one of the reasons why performance under pressure is so complex. Our emotional experience before a performance does not always predict what will happen once the performance begins.

Understanding this distinction can help us interpret our own experience more accurately.

Many performers become frustrated when something that felt secure in yesterday's practice suddenly feels much less reliable today.

The immediate assumption is often that something has been forgotten or that ability has declined overnight.

Yet this is not always what has changed.

Performance places different psychological demands on performers than practice does. The music may be the same, but the conditions in which that music is accessed, are not.

Recognising this distinction helps explain why consistency is about much more than simply repeating successful practice.

One of the most unsettling experiences for a performer is the feeling that the mind has suddenly gone blank during performance.

It's easy to interpret this as evidence that you haven't prepared enough. Yet many performers experience these moments despite knowing the music extremely well.

Pressure doesn't always affect what you've learned. Sometimes it affects how easily you can access it when you need it most.

This is one of the reasons why performing under pressure can feel so confusing. The skill may still be there, but your ability to draw on it has been temporarily disrupted.

One of the more misleading aspects of performing under pressure is that the subjective experience of performing does not always reflect the quality of the performance itself.

Performances that feel uncertain or effortful are not necessarily poor performances. Many performers are surprised when they later hear a recording that sounds considerably more stable than it felt from the stage.

Learning to separate experience from evaluation is an important aspect of performing consistently under pressure.

One of the most common questions performers ask is how to remain "in the zone" throughout a performance.

Interestingly, the act of checking whether we're still focused can itself change the direction of our attention.

Rather than trying to preserve a particular mental state, performers often benefit from returning attention to the next phrase, movement, intention or task.

The aim is not to hold on to the "zone", but to remain engaged with the performance itself.

My latest article for The Strad is now available online.

The article examines mindfulness in performance and considers some of the assumptions that have developed around its role in high-performance settings.

My thanks to The Strad for the opportunity to contribute to this discussion.

I'm pleased to see the article now available to a wider readership.

Incorporating a mindful attitude into our music practice and performance, and into everyday life, brings many benefits. Berenice Beverley Zammit explores its transformative potential – link in comments 🎻

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Performance Guru

One of the less frequently discussed experiences in performance is the feeling that something familiar suddenly feels unfamiliar.

Performers often describe moments in which the music, the repertoire and the performance feel quite different to practice.

Yet the subjective experience of performing and the objective quality of performance do not always align.

Understanding that distinction can help performers interpret pressure more accurately and respond more effectively when it arises.