I think one of the most critical turning points is when making music – something that was once intrinsically motivating, a source of balance and, above all, a safe space – becomes a source of pressure. Suddenly, it is no longer just about the music, but also about success, productivity and creating content that works for streaming platforms.

This is particularly true for newcomers, who are often extremely ambitious and focused, but lack spaces where they can process and regulate the stress that comes with the job. Being a musician increasingly means being a musician 24/7 – and, as a result, being in work mode 24/7. That takes a real toll on the body and mind.

In recent years, social media, the constant demand for content, the sheer volume of feedback and judgement, and the anxiety this can create have become major factors affecting mental health.

I think pressure is one of the biggest issues: the pressure to meet expectations, to stay relevant and to remain visible. Boundaries are constantly being pushed – not just in terms of time, but also in terms of how much stress people are expected to tolerate.

If you choose music as a profession, you need to make a living from it, and that is becoming increasingly difficult. I think the capitalist side of the music business is often not discussed enough. Being a musician is a tough job, and for many people, there is a process of disillusionment because they simply haven't been prepared for what the profession actually entails.

Another important factor is the interdependence between people in the industry. It can be a real strength, but it can also make it difficult to set boundaries or challenge existing dynamics.

I often feel that there is not enough reflection on a more systemic level. Too much is handled intuitively, without sufficient structure or professionalism – and too often, people pay the price for that.

Passion is the driving force. Without it, you simply cannot do this job. It is wonderful to feel that strongly about what you do. Testing your limits, pushing boundaries and thinking big are all part of being an artist.

But our bodies don't work according to the principle that just because we love something, we can do it as often and as intensely as we want. If the physical or psychological strain becomes too great, sooner or later, the body will let us know.

Many musicians gradually move from a place of motivation into a state of overload without even noticing it. There are still strong beliefs in the industry that you have to give everything, never stand still and always be ready to go.

But eventually, that approach will burn anyone out.

I think we need a different narrative: music can only remain enjoyable and creatively fulfilling in the long term if you keep on wanting to make it – not if you feel you most of the time have to.

People who are deeply driven by what they do tend to overlook their own limits, particularly when it comes to physical exhaustion and psychological strain. They convince themselves that they can keep going, that what they are doing is necessary or meaningful, and that they can push through just a little longer.

Regeneration then stops feeling like refuelling or drinking when you're thirsty. Instead, it starts to feel like standing still or giving up.

Many musicians move almost unnoticed from a zone of motivation into a zone of overload, leaving less and less room for balance and recovery.

The music industry reinforces this by creating the feeling that everything has to happen now, that every opportunity is crucial and that you always have to be available. It becomes a hamster wheel that people keep running on, often without realising how exhausted they have become.

We need to recognise that we cannot leave artists – especially young and emerging artists – to navigate these challenges on their own. They need guidance on how to work in a healthy and sustainable way.

We have to remember that we are dealing with human beings, not machines. The art being sold may be a product, but there is a person behind it.

We also need to keep breaking down the stigma and shame around struggling with mental health or taking on too much. In this environment, with its particular demands and pressures, it is easy to become overwhelmed. That should not be framed as failure or as a sign that someone isn't cut out for the job.

An artist's career comes with significant psychological challenges, and we need to address them proactively rather than waiting until someone reaches a breaking point.

I believe change can only happen through individual and structural change working hand in hand. If we focus only on the individual, we are severely limited in what we can achieve. But structural changes alone won't be enough either if people don't engage with them and put them into practice.

There are many ways to make a difference. The problem is often that the need for change is recognised too late, or that people don't take the time to implement it properly.

One example I'm particularly proud of is BRIDGES, a prevention programme I designed and lead in collaboration with Universal Music Germany. It is available to artists regardless of whether they are already experiencing difficulties or not. The idea is to make support for mental health a natural and integral part of an artist's career, rather than something you only turn to when things go wrong.

That is the kind of shift we need: moving from a reactive approach to one in which looking after artists' well-being is simply part of how the industry operates.

ESNS is fun! There is so much to experience, so many people to meet and so many conversations to have. For most of us, that’s exciting and enjoyable – but it can also be exhausting.

So, if you want to keep enjoying the experience, check in with yourself: When are your batteries full, and when are they running low?

We know from research that even short, good-quality breaks can make a real difference. Groningen itself has some lovely places to take a breather, especially when the weather is good. And there is also a dedicated space at the Oosterpoort where you can take a moment to slow down and recharge. The important thing is to recognise when you need a break – and to understand that this can look different for everyone.

It also helps to plan your schedule realistically. ESNS has so much to offer that you simply cannot experience everything. Trying to be everywhere at once, or feeling guilty about missing something, can take away from the fun. A little planning and accepting that you’ll have to make choices can actually help you enjoy the event much more.

And if you feel overwhelmed, need some support with stress regulation, or simply want to talk, come and see us at Mental Health Help Desk. We’re happy to help!