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The Singing Athlete

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The Singing Athlete

We help singers unlock peak performance through brain-based movement and voice science. Get certified in The Singing Athlete method at thesingingathlete.com.

Created by Andrew Byrne to educate and empower singers, teachers, and vocal pros at every level.

09/05/2026

Screlting Adele is a tall order, and came in with the right instincts but struggling with stamina.

His neck was carrying the load. A forward bend test showed it clearly: he extended his cervical spine on a movement that asks for flexion. His balance test drifted left, which points to a left side wanting better information about where the ground is.

So we gave it some with the .band in a loaded lunge.

𝗧𝗵𝗲 𝗻𝗲𝗰𝗸 𝗹𝗲𝘁 𝗴𝗼 𝗮𝘀 𝘀𝗼𝗼𝗻 𝗮𝘀 𝘁𝗵𝗲 𝗹𝗲𝗴 𝗸𝗻𝗲𝘄 𝘄𝗵𝗲𝗿𝗲 𝗶𝘁 𝘄𝗮𝘀.

The C soared. Watch the crowd at the end, they felt it before he finished. 💥

If you’ve been told to keep your head back and it hasn’t worked, you’re not broken, you’re just in the wrong target.

09/04/2026

𝗟𝗼𝗻𝗱𝗼𝗻 𝗳𝗶𝗹𝗹𝗲𝗱 𝘂𝗽 𝘁𝘄𝗶𝗰𝗲 𝗶𝗻 𝗔𝘂𝗴𝘂𝘀𝘁. 𝗡𝗼𝘃𝗲𝗺𝗯𝗲𝗿 𝟭𝟭–𝟭𝟯 𝗶𝘀 𝘁𝗵𝗲 𝗹𝗮𝘀𝘁 𝘁𝗶𝗺𝗲 𝗜’𝗺 𝘁𝗲𝗮𝗰𝗵𝗶𝗻𝗴 𝗟𝗲𝘃𝗲𝗹 𝗢𝗻𝗲 𝗶𝗻 𝘁𝗵𝗲 𝗨𝗞 𝗶𝗻 𝟮𝟬𝟮𝟲.

Level One Certification, London, November 11–13 at the Old Diorama Arts Centre. 10:00AM to 6:00PM each day.

The August 14–16 cohort sold out, so I opened an overflow week on the 24th. That one sold out too.

And more importantly, I had the BEST time connecting with UK and European singers and teachers. So I’m coming back. 🇬🇧

Join me for three days of brain-based voice training: how your brain organizes the voice before a single note comes out, and what shifts the moment it gets better information. You will Assess and Reassess on your own voice and on each other, and you will hear the difference in the room.

Open to singers and teachers. No prior certification needed.

$100 off if you apply before October 1. Link in bio. 🔗

09/03/2026

Rosie could have picked a safe soprano song. Instead, she picked “Dyin’ Ain’t So Bad”—and I love her for it. ❤️

is a highly trained classical soprano, and in her Level One London session she went straight for the Bonnie and Clyde belt tune that the divine made famous.

First thing she told me: bad right ankle sprain three years ago, but the compensations she feels are all in her left. A sprained joint can change how muscles fire well above the ankle, and it doesn’t always stay on the side that got hurt.

On the floor, her left psoas tests weak.

So I stretched the navicular, the little keystone bone that holds up the arch. We reassessed the psoas, and it was stronger.

So I got her up and give her one cue for the big section: 𝗽𝘂𝘁 𝘆𝗼𝘂𝗿 𝗯𝗶𝗴 𝘁𝗼𝗲 𝗶𝗻 𝘁𝗵𝗲 𝗴𝗿𝗼𝘂𝗻𝗱.

Great toe, navicular, lesser trochanter. One line up the inside of the leg. The big toe raises the arch, the navicular holds it there, and the fascia along the inner leg carries up to the lesser trochanter, which is exactly where the psoas attaches. Load the toe and the whole line might answer.

In Rosie’s case, it did 🔥

Then I ask her to run the big section again as an expressive choice, not a neuro drill. How does the character need that moment to land?

Do the drill. Forget the drill.

She integrated it on the first pass, because she that level of artist. And the room went wow. 👏

Level One is back in London November 11-13. Link in bio to apply.

09/02/2026

Conductors: your shoulder, arm, wrist, or hand pain may not be just about the place that hurts.

Next Tuesday I’m teaching REHABBING CONDUCTING INJURIES, a practical masterclass for conductors who work from the podium or the keyboard.

We’re going to look at:

👉 Nerve glides for the upper extremity
👉 Joint mapping drills for the shoulder, elbow, wrist + hand
👉 The ONE abdominal muscle I really want conductors to understand
👉 How the trunk organizes movement of the arm
👉 Strategies you can actually use when something hurts

The goal isn’t just “better posture.” It’s giving your nervous system better options for doing an incredibly repetitive and physically demanding job.

Tuesday, September 8 at 7:00 PM New York time.

Come move with me. 🎶

InjuryPrevention ConductingTechnique Pianist MusicEducation

08/30/2026

𝗡𝗶𝗻𝗮 𝘁𝗼𝗹𝗱 𝗺𝗲 𝗵𝗲𝗿 𝗿𝗶𝗴𝗵𝘁 𝗵𝗶𝗽 𝗵𝘂𝗿𝘁𝘀 𝗮𝗹𝗹 𝘁𝗵𝗲 𝘁𝗶𝗺𝗲. 𝗧𝗲𝗻 𝗺𝗶𝗻𝘂𝘁𝗲𝘀 𝗹𝗮𝘁𝗲𝗿 𝘀𝗵𝗲 𝘄𝗮𝘀 𝗯𝗲𝗹𝘁𝗶𝗻𝗴 𝘁𝗵𝗲 𝗻𝗼𝘁𝗲 𝘁𝗵𝗮𝘁 𝗸𝗲𝗽𝘁 𝗳𝗹𝗶𝗽𝗽𝗶𝗻𝗴 𝗼𝗻 𝗵𝗲𝗿.

came into Level One in London working on “God Give Me Strength,” and her voice switched into thin folds when she went for the big notes.

I had already learned that Nina was experiencing right hip pain earlier in the day.

We laid her down to muscle test and I watched her feet splay all the way out into full external rotation. So I already knew which muscles were running the show.

I put her right leg into a TFL test position and she was in pain before I applied any load. Pain invalidates a muscle test, so I never ran it.

The TFL sits at the front of the hip and does three things: flexion, abduction, internal rotation. It is also one of the contractile pieces of the IT band, which has no ability to pull on anything by itself. The IT band is the rope. The TFL is the hand on the rope.

So I stood her up instead and put her into all three of those actions at once. Hip flexed, abducted, internally rotated.

Then she sang.

No flip. She belted it clean and screamed with joy. 🙌

When I asked her how it felt, she went quiet, and the tears came. “It felt really good,” she said, still crying.

Tag a singer who has been treating a sore hip and a lack of vocal power as two separate problems.

08/26/2026

We couldn’t end our Level One certification in London without a tribute to two great artists who were a huge influence on me (and all of us). Tim and Dolly, we’ll never forget you…

08/23/2026

𝗜𝗻 𝗥𝗮𝗴𝘁𝗶𝗺𝗲, 𝗠𝗼𝘁𝗵𝗲𝗿 𝘀𝗮𝘆𝘀: “𝗧𝗵𝗲𝗿𝗲 𝘄𝗮𝘀 𝗮 𝘁𝗶𝗺𝗲 𝗺𝘆 𝗳𝗲𝗲𝘁 𝘄𝗲𝗿𝗲 𝘀𝗼 𝘀𝗼𝗹𝗶𝗱𝗹𝘆 𝗽𝗹𝗮𝗻𝘁𝗲𝗱.” 𝗦𝗵𝗲 𝗺𝗲𝗮𝗻𝘁 𝘁𝗵𝗮𝘁 𝗹𝗶𝘁𝗲𝗿𝗮𝗹𝗹𝘆.

Lauren Maxwell () flew from NYC to London for Level One, and she brought the end of “Back to Before” with her.

Every Broadway belter knows that final C #.

Lauren had an L5-S1 surgery in 2017 and spent a long stretch after it walking with a cane, sure her mobility was gone for good.

Before we touched anything in her voice, I asked her to lift her big toe on its own. Try it yourself—can you do it? Lauren found it challenging on the right.

Lifting the big toe activates the extensor hallucis longus, a muscle supplied by the L5 nerve root, giving us a window into that vertebral map.

So I took her to the ground and started working through the right foot and ankle. She called it her “bad ankle” before I could ask. When she was 14, she severed a tendon on the lateral side.

Then she said something smart: maybe that ankle had something to do with the back injury three years later.

The question in history is always: What happened before what happened happened?

I stood her back up and asked her to press the ball of the fifth metatarsal head into the floor. Just enough input along the lateral line for her brain to know exactly where the ground was.

The note came out. She turned to me grinning and said, “That’s it!” 🎯

Tag a belter who has been drilling their high notes when the answer is sitting under their foot.

LevelOneCertification

08/20/2026

𝗬𝗼𝘂 𝗰𝗮𝗻’𝘁 𝘀𝗶𝗻𝗴 𝗘𝗹𝗽𝗵𝗮𝗯𝗮 𝗶𝗻 𝘆𝗼𝘂𝗿 𝗵𝗲𝗮𝗱 𝘃𝗼𝗶𝗰𝗲...𝗮𝗻𝗱 𝗔𝗻𝗻𝗮 𝗸𝗻𝗲𝘄 𝗶𝘁.
alexandrowicz brought “No Good Deed” to Level One in London last weekend. She has an amazing instrument, but the sound kept tipping over into an operatic quality she did not want there.

A belt runs on the posterior chain, the long line of muscle up the back of the body from heel to skull, and it runs on the ground underneath you. When the body cannot organize itself against gravity, the support does not show up for the note.

So I tested her balance instead of her voice. She fell to the right.

We loaded that right side in a lunge angled out in front of her at forty five degrees, with the strongest .band I own. (Anna is very strong. 💪) assisted (and got her workout in.)

Back to the song, and the belt held all the way to the end.

Anna threw her fist in the air and said “That was cool.” I agreed.

Ten minutes, start to finish. Assess and Reassess moves that fast when the assessment finds the right thing.

Tag a belter who has never been told their high notes might live in their lunge.

08/18/2026

𝗬𝗼𝘂𝗿 𝗵𝗶𝗽 𝘀𝘁𝗿𝗲𝗻𝗴𝘁𝗵 𝗱𝗶𝗿𝗲𝗰𝘁𝗹𝘆 𝗮𝗳𝗳𝗲𝗰𝘁𝘀 𝘆𝗼𝘂𝗿 𝘃𝗼𝗰𝗮𝗹 𝘀𝘁𝗮𝗯𝗶𝗹𝗶𝘁𝘆.

Ludvig Fyrgard () sang “Wondering” from “The Bridges of Madison County” at Level One in London this weekend, and I noticed something on the way up to the high notes. He was leaning back.

When a note starts to feel like a threat, the back of the body often volunteers for the job. The extensor chain grabs, the spine tips back, and the singer stops using their air.

So we assessed. His hip flexors tested weak on the right side.

His right leg was also turning out. External rotation at the hip is mostly run by muscles on the back of the body, the glutes and the small deep rotators sitting underneath them. Turning that leg out was one more way of feeding the pattern I was already watching in his spine.

We tested internal rotation. Not much there.

So I loaded hip flexion and internal rotation with the .band and Ludvig sang again.

The note landed. The room made noise. Ludvig looked genuinely startled and said, “I didn’t think that was going to work.”

Then we put the band down. He kept a little flexion, a little internal rotation, and sang it again. The change held.

The band never sang a note. It bought him one clean repetition, which is all a nervous system needs to start filing something as available.

Where do you feel yourself leaning when the top of a phrase gets loud? Save this for the next high note that feels like it needs more effort.

Level One Certification Online Sept 21-23. As of today, five spots left—apply at link in bio.

08/17/2026

𝗞𝗶𝗻𝗴𝘀𝗹𝗲𝘆 𝗸𝗲𝗽𝘁 𝘁𝗮𝗸𝗶𝗻𝗴 𝗮𝗻 𝗲𝘅𝘁𝗿𝗮 𝗯𝗿𝗲𝗮𝘁𝗵 𝗵𝗲 𝗱𝗶𝗱𝗻’𝘁 𝗻𝗲𝗲𝗱.

I was working with Kingsley Judd () in London on “Till I Hear You Sing.” Right before the final phrase, he snuck in a catch breath.

I started wondering about his map of his core, so I ran a rotation test, checking his strength turning right against left.

Rightward rotation was weak. The internal oblique on that side is a main driver of that motion, pulling diagonally across the trunk to turn the spine away from itself.

I went with a tri-planar internal oblique mapping exercise, moving him through sagittal, frontal, and transverse planes.

Multi-directional movement activates the cerebellum. The cerebellum isn’t only running coordination either; it’s wired into cognition. Train the movement pattern and you train the thinking underneath it.

We retested the rightward rotation—it was now strong, so we sang again.

He got to the same phrase and the catch breath was gone. Kingsley said, “I’ve never done that phrase in one breath like that before.”

Tag a singer who’s looking for a new idea for breath support.

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