assorted paintings on white painted wall

Stand up for mental wellbeing

Our musicians, artists, actors, dancers and other performers put themselves in the frontline every single day, endlessly practising, rehearsing, fine-tuning and showcasing their talents to audiences who praise – but also critique. The stresses and strains of choosing a creative career, or of being a student or a young learner within the arts and culture community, can and does lead to anxiety, addictions, anger management problems and other mental wellbeing issues. With your help I want to launch a global wellness campaign, to coincide with World Mental Health Day on 10 October, to raise awareness of these problems, to protect our performers and to help those who are already experiencing difficulties. Please take just a few minutes to look through my thoughts and to share your ideas to help shape this initiative going forwards.

What’s the issue?

Earlier this year, the Incorporated Society of Musicians asked ‘What do musicians want from the new Parliament?’ Referencing research by Help Musicians UK, the ISM called for the Government to support institutions ‘working to tackle the stigma around discussing mental health’ with more than six in ten professionals suffering emotional problems at some stage in their working lives and 75% experiencing performance-related stress.

The Guardian followed up on these findings in an article – ‘Insomnia, anxiety, break-ups…musicians on the dark side of touring’ – which focused on players supporting mainstream boy bands and punk groups. But the problem is far more widespread than this. It impacts on musicians, and indeed artists, of all levels, lifestyles and ages. From the young children, teenagers and students under stress to continually practice, perform and “create” to professional players, artists, writers, dancers and actors who, more often than not, eke out precarious livelihoods in pressurised working environments.

Why am I determined to raise awareness of this issue?

I am not a doctor, a psychologist, or a therapist. I am a musician who has, over the years, experienced my own fair share of emotional wellbeing issues. As a music student at King’s College London, via many circuitous paths including solo violinist, leader, teacher, university lecturer and artistic director for many and varied youth ensembles and professional orchestras, I have increasingly seen players and performers, colleagues and students alike experiencing stress, anxiety, anger issues, addictions and depression.

Why are performers so affected by mental health issues?

Music, art and literature are healing and therapeutic tools for many vulnerable and marginalised people – and a proven benefit for those with various conditions ranging from autism to dementia. Listening, viewing, watching or directly engaging with diverse art forms allows many of us to express emotions and rekindle old memories – good and bad. A great piece of music, an evocative sculpture, an inspirational poem or a dramatic stage-play can create tears of sadness or joy, it can make us feel angry or excited or passionate. It can be a fantastic and helpful cathartic experience.

But musicians and artists, creators and performers, live inside this emotionally immersive experience day in, day out. We have to consistently reach inside ourselves, drawing not only on our talents and skills, but on our most primeval emotions. Time and again. Often just a single step away from burn-out under the constant spotlight of acclamation or criticism. Add to this the pressures of thousands of hours of practice, hot-house training methods from a young age, the high degrees of sensitivity required by any artistic calling, the poor levels of financial compensation and job security for most, and the public perception that artists love what they do so why on earth would they, of all people, experience emotional problems?

Music, specifically, touches the emotions where words alone cannot. Nothing connects someone to the moment like music. This is good if it is channelled and used in a focused and therapeutic way but potentially dangerous within an industry which involves constant exposure to emotions and feelings and increasingly raw nerves. Music can change lives, it can change our moods instantly or heal our battered souls slowly. But if you are a professional, always having to be at your peak, always having to perform to an audience or a judge or a teacher, or simply to your peers, it can be too intensively damaging. We cannot always escape. And no-one teaches us how to turn the switch to ‘off’.

Why now?

I have seen friends and colleagues, players and pupils increasingly experiencing a wide range of mental health and emotional issues. I welcome the research by organisations like Help Musicians UK and calls to action by the ISM. I am delighted to support initiatives like today’s World Mental Health Day, an annual awareness-raising event focused on overcoming the stigmas and stereotypes which are particularly relevant to those of us in the arts community. And I am encouraged by actors, musicians and artists who are becoming more open about their own wellbeing issues which are often a result of the constant pressure of performing under the bright lights, the constant pressure of producing perfection. Every day. Without fail.

But (and, as so often, it’s a really big and important “but”) the Hollywood actors, the global pop stars, the British classical musicians, and so many others who speak out about their own mental health problems, polarise opinions. While many applaud their courage and support these issues being openly aired, others are dismissive and disparaging. And then there are the fence-sitters who encourage openness but criticise these high-profile speakers as representatives of the privileged few who can afford to access treatment and ongoing support.

Mainstream media coverage is not universally non-judgemental, by any means, but it is social media reaction in particular which is so often extraordinarily insensitive and highly damaging. This fuels the flames of those who choose to stigmatise, further isolates those who are suffering, and stops others from raising awareness of vital problems.

We live in a time when we have the technical tools and expertise to raise awareness of key issues in such a great and positive way; to openly debate and discuss and support people and causes on a global scale; and to share not only problems but potential solutions. But it seems that as our social media traffic increases, our social consciences plummet. Let’s all just stop for a moment. Just imagine for this single moment in time what an impact we could make, what a significant difference we could make, if we choose compassion not condemnation.

What can we – and more importantly you – do?

We already use this same technology to benefit from online therapy, we download apps to practice mindfulness and e-books of therapeutic resources. And we make full use of every digital device we own to ensure we have 24/7 access to art galleries across the world, to dance and drama productions, and to all kinds of fabulous music.

So, we can join forces to support the ISM in calling for governmental support, we can volunteer for mental health charities, and we can buy into the invaluable initiatives led by organisations like Help Musicians UK. We should all endorse their work.

But for us, here and now, let’s go big and let’s go global. We all understand the power and the reach and influence of social media. Maybe, just maybe, we can raise awareness of the mental health issues I’ve touched on by trying to turn social media into a force for good! Controversial? Yes. Clichéd? Yep, maybe that too!

Have a look at the proposed campaign manifesto – and then it’s over to you. I want your input – your views and feedback, your ideas and suggestions. Constructive stuff will be especially welcome! And please spread the word, share this, talk about the issues, ensure everyone has their say and their input to help kick-start what I want to be a positive and beneficial global wellbeing campaign.

Campaign manifesto

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  • To help protect musicians, artists, writers, actors, dancers and other associated students, players and performers against work and environment-related mental health issues
  • To support those in the arts and culture community who are already vulnerable or directly suffering
  • To understand that while performing and creating can be stressful and mentally challenging experiences and environments, the arts must be seen and positioned as powerful healing tools for many in society, especially our young people, supporting them in reintegrating with friends, family, and communities and potentially benefitting their emotional wellbeing
  • To create and sustain an ongoing debate, discussion and support network via social media to raise awareness of these issues, to share experiences and to work to identify ways of helping and healing, and of preventing problems in the first place wherever possible
  • To work with established charities, with politicians and other opinion leaders, with advocacy groups and with the media, to raise awareness and to overcome stigmas, stereotypes and unhelpful public preconceptions attached to discussions and debates about mental health in general and the issues related to musicians and other artists in particular


person in black hoodie holding blue stick

Guivier's batons

Morning everyone. Straight to business! There's a rant coming. Perhaps the first of many.

I penned my first blog-post in months the other day, and one of the topics I mentioned was batons. I assumed my next post - i.e. this one - wouldn't quite be so soon after the first, but then I didn't count on one of my batons displaying appalling qualities whilst in use. Let's start from the beginning. Make sure you're sitting comfortably.

I bought a couple of batons from Guivier's only a matter of weeks ago. I used to use them a lot, over the years. I ordered two model P sticks. The kind Rattle is often seen sporting. I'm sure Andrew Davis also lunges with these babies too. That's not why I bought them, mind. I'm not swayed by celebrity endorsements! I bought them because I like them, and they feel right. I buy them long, and cut the ends off - can't stand those spindly little whiffs of sawdust at the tip - I like a log up at that end.

But enough about my proclivities.

I spent a dull (ok, it wasn't; it was really oddly satisfying, in the same geeky way an oboist loves whittling away at their reeds) afternoon on Monday chopping and sanding the ends. In the middle of teaching Holst's St Paul's Suite to a student the following morning, one of them broke. SNAP. At exactly the same point as exactly the same batons always used to break years ago, which is exactly why I stopped using them in the first place. Why on earth did I go back and try again, thinking their quality-control had improved???

Essentially, what you've got is two bits of wood, sandwiched together and held in place merely by anti-matter, and the invisible force-fields emanating from minor 6-3 chords. Or it may as well be, because f*** all else holds it together, and the slightest twitch from the wrist renders the bits asunder.


It really grinds my gears, as that famous conductor on telly says. It is truly, truly dreadful workmanship, and what's more, a rip-off: At nearly £11 a pop, I'd expect a stick to last at least as far as the slow movement (of the piece, or even my career). I've bought a few sticks from Guivier's since December, and they've often been poorly finished, badly balanced, and sometimes bent. Well, ok, I didn't buy the bent ones, but you get the point.

So I've gone back to some little Maestro TR12BW jobbies, which I love, are cheaper, and above all don't break every six bars. Much better all round.

Guivier's should know better than to sell such dross, and I'll be telling them so, once I've gotten all this off my chest. I do hope someone from their company reads this, as I'd love to offer them the right to reply. I'm not attempting to be confrontational, but when our batons are our precision tools, and they end up being far from precise, it p*sses me off big time. Plus, Guivier's have a reputation - in a tricky world, where you can't just grab a stick from the high street - of supplying some of the best batons to some of the best conductors. People travel there from all over, or do it mail-order. Their quality really ought to be better than that. Other company's batons are WAAAAY better. And I'm not talking about poncey Mollards, ultra-balanced Pickboys, or Newlands embossed along the side with their own importance - I'm talking about bog-standard meat-and-two-veg sticks you can get hold of in a tiny music shop.

As you can tell, when I get ranting, I really can vent and vent and vent. So, that's enough. I've got a gig tonight. Which I'll be conducting with a simple cheap baton, the kind I've been using for ages. Which almost certainly won't break. Unless someone attacks me from the viola section (it does happen, I'm told).

Anyone else got any thoughts about Guivier's batons??? Please add comments. Maybe even photos of fatalities.

Happy snapping, folks!