Op-Ed: What is Causing the Music Industry’s Mental Health Crisis?

It is not easy to be a musician. Success is often hard to come by for artists, managers, and A&Rs alike. It takes hard work, dedication, and sometimes even years of effort to find success as an individual working in music. But the industry has evolved fast, and its key players are struggling to catch up. The financial difficulties alone make working in music an intimidating task. Additionally, the fast-paced, quickly-changing state of the industry generates a need to be informed, prepared, and one step ahead at all times. The mental health of musicians and industry members has been sorely impacted by the change of the music industry over the past few decades. This music mental health crisis is being caused primarily by three big shifts in the industry: the rise of social media, changing financial sources & structures, and the changing of the very definition of what it means to be an artist. It is imperative that more and more attention be paid to mental health, and the shifts towards a better industry must continue to happen at greater levels.

Changing Financial Sources & Structures

Perhaps the most prevalent catalyst of financial change for musicians is the rising trend of streaming since the 2010s.^[1] Streaming is now the main source of musical consumption, taking up a whopping 91.3 percent of the U.S.’s total musical consumption activity in 2024.^[2] Gone are the days of CDs, iTunes, and vinyl supremacy. As of 2024, artists typically earn anywhere from $0.003-0.008 per stream from mainstream streaming services (Spotify, Apple Music, etc.).^[3] In comparison, an artist typically makes $1-3 from a CD priced at $15 via traditional recording agreements.^[4] If an artist sold 10,000 CDs with their most recent single, they’d make anywhere from $10,000 to $30,000. However, the same single streamed 10,000 times would only generate $300-$800.

It is now common knowledge that an artist can make little to no stable income from streaming royalties unless they are very, very successful. One song with 1 million streams can earn an artist anywhere between $3,000-8,000. This amount of money can absolutely support an artist’s career, but the money made from streaming royalties pales in comparison to the amount artists used to make back when they primarily sold CDs. At present, artists are utilizing merchandise and live concert ticket sales as main sources of income, alongside sync (Film & TV) placements and brand partnerships.^[5] Because of the loss of revenue from the music market’s shift to streaming, the artist’s primary income no longer is generated by their primary export: their music itself.

According to the Wellness in Music Survey of 2024 conducted by MusiCares, a charity founded by the Recording Academy, 78 percent of survey respondents reported an annual income of $100,000 or less in the last year,^[6] which is about 24 percent lower than the general U.S. household average of $132,000.^[7] 53 percent of respondents reported that their financial earnings have not stabilized post-pandemic. 69 percent reported they are “unable to comfortably cover expenses through their work in music alone”.^[8]

Another financial change that artists have been hit by in the new music industry is rather the lack of change surrounding record deals–still ripe with royalties, fees, and contracts used during the golden ages of Motown. For example, record labels are still deducting “distribution costs” from artist record sales, despite the industry’s well-known shift to digital distribution–a much less costly method of releasing and making records.^[9] Additionally, the rise of the 360 deal has allowed record labels to take from every piece of their artists’ income. Merchandise, sponsorships, songwriting, acting, modeling, and practically any other way an artist makes money can now be diverted to their label. This deal structure was generated in the early 2000s as a way to deal with the quickly rising financial crisis the music industry faced when first entering the digital age. 360 deals have now become a norm within both major and independent labels, and are another example of how an artist’s income structure has changed over the past decade.^[10]

MusiCares’s Wellness In Music Survey of 2024 reported that 47 and 44 percent of respondents believe their stress and anxiety respectfully are directly related to financial concerns.^[11]

Social Media

It is estimated that about 82 percent of the U.S. uses social media.^[12] Additionally, many Americans are using it to find new music. According to the Infinite Dial Report of 2024, “48% of Americans age 12+ say it is ‘very’ or ‘somewhat’ important to keep up to date with music. Among this audience, 40% use Instagram as a source to find out about music. TikTok trails behind at 36%, while Facebook maintains a solid presence with 32% of Americans using it for discovering music”.^[13] The uptick in usage of social media as a means for connecting our world has given musicians another hat to wear. Recently, labels have also been encouraging artists to primarily utilize social media marketing in order to promote their music. Halsey, Charli XCX, and Charlie Puth are all mainstream artists who have publicly discussed the pressure felt from their labels to create TikToks. Halsey in particular was asked by her label to fake a viral moment on the internet before releasing a song. Her socials did in fact go viral after this request, which was caused by a video she ironically made detailing her frustration with having to go viral in the first place.^[14]

Social media can feel daunting for artists who worry that they spend more time on content creation than their own music. Sara Quin, from the Canadian pop duo Tegan and Sara, told The Guardian, “Myspace or Facebook posts used to be an add-on but now it feels like making music is about making assets for social media.”^[15] In 2023, former Surgeon General Dr. Vivek Murthy called upon Congress to enforce a warning label on social media, citing evidence and studies stating “adolescents who spend more than three hours a day on social media face double the risk of anxiety and depression symptoms”.^[16] It is clear that the increased presence and pressure of social media is changing the music industry and having a negative impact on the mental health of the musicians navigating it.

What Does it Mean Now to Be an “Artist”?

As the structure of the music industry has changed, the definition of the artist has changed as well. Musicians no longer solely rely on labels. Digital distributors such as CDBaby and DistroKid have allowed anyone to release music on their own terms. After having grown steadily over the past few years, 30% of the total global recorded music market share is now held by music from independent labels and musicians.^[17]

Additionally, artists of late have been calling out their labels for wrongdoing – using their platforms as high-profile individuals to spread awareness of common issues they face. Chappell Roan, a shining pop superstar and self-described “Midwest Princess”, has established herself as an active voice for change within the music industry. Her recent 2025 Grammy acceptance speech highlighted–and shared–her personal experiences with insurance, instability, and other financial difficulties that young rising artists like herself face.

The “Big Three” major labels (Sony, Universal, and Warner Music Groups) have agreements in place with the Screen Actors Guild and American Federation of Televised and Radio Artists (SAG-AFTRA), allowing all of their signed artists to qualify for insurance. Artists are eligible for health insurance through their label as long as they are signed; eligibility is not based on their annual earnings or royalties.^[18] However, if an artist is dropped from their contract–like Roan was dropped from Atlantic Records in 2020–they immediately lose their insurance eligibility. Chappell Roan was signed out of high school and dropped a few years later–with no warning, college education, or training in another industry. In her Grammy acceptance speech this past year, she spoke about how this impacted her physical & mental health and called for more support for rising artists. Roan told the audience that “It was so devastating to feel so committed to my art and feel so betrayed by the system, and so dehumanized to not have health insurance. And if my label would have prioritized artist health, I could’ve been provided care by a company I was giving everything to.”^[19]

Alongside these calls for change within the major label system, independent artists and labels are steadily disrupting the total omnipotence that major labels held over the industry in the past. Artists have more power over labels; they no longer need them. Some artists are so frustrated with the way major labels operate that they leave, choosing to become independent as an already established artist. James Blake is one of those independent musicians; he recently left Republic Records after over 10 years with the UMG-owned label.^[20] Blake often criticizes the structure of the industry, and record labels in particular, emphasizing how difficult it is to be an artist nowadays, both financially and mentally. He stated on his Instagram in a recent post that “The majors have prioritised temporary virality over art for too long, and that’s why the model is crumbling.”^[21] Blake also describes major labels in their current form as “a package holiday. None of it is aimed specifically at you and your needs.”^[22] His frustration with and subsequent departure from the major label system is a prominent example of the mental health issues plaguing this generation of artists signed to large record labels.

Independent musicians, though growing in numbers, also have their own set of difficulties when navigating an industry still mostly dominated by major labels. Independent artists who tour do not have the same financial and logistical support as artists signed to a major label (hence the “DIY” name). Navigating insurance alone as a touring musician can be difficult, since insurances based in certain U.S. states do not necessarily cover all states a musician travels to. Renata Marinaro, managing director of health services at the Entertainment Community Fund, told Rolling Stone: “It’s frustrating for me to tell somebody that it’s easier for you to travel around Europe and see different doctors with travel insurance than it is for you to travel around the United States.”^[23]

The added stress of full responsibility for every part of a tour can take a toll on the mental health of musicians. Billie Bentil, a Berklee College of Music student and bassist currently playing with the Boston-based band Women In Peril, describes her experiences with DIY touring:

“You’re in the car for hours with little if any personal space, sleeping on floors–consistently late nights. Sometimes, you’re up against the elements and hard shows and just unfortunate situations. It truly just is a mental game. I’ve always known being on the road is what I want to do, so fighting through the hard moments is always worth it.”^[24]

Artists, now strong in numbers as both independent and signed musicians, are changing. There are more independent musicians now than ever before. There are more vocal figures in the mainstream industry calling for change. However, the major label system is disconnected and struggling to catch up with artists, who demand better conditions and are no longer reliant on their labels. This change of the artist structure and the subsequent disconnect from outdated industry systems is another strong contributor to the ongoing mental health crisis of the music industry.

Positive Changes & Moving Forward

Despite the alarming state of mental health in the music industry, more and more resources are being made available to artists to assist them as time passes. Backline is a company that specializes in providing counseling & wellness resources for musicians and other music industry professionals. The therapists employed by Backline are specifically trained and well-versed in the music industry, allowing them to better understand and assist their clients. ^[25] Chappell Roan recently made headlines by making a $25,000 donation to the charity, which was then matched by Noah Kahan and Charli XCX respectively.^[26] Charli and Noah both expressed how inspired they felt by Roan’s speech at the Grammys and made the donations as a way to “get the ball rolling”.^[27] In fact, Chappell Roan and Backline have created a campaign together after the Grammys, called “We Got You!”. This campaign pioneered by the artist and mental health company has prompted donations from Sabrina Carpenter, LAUV, Live Nation, AEG, and Wasserman alongside Kahan and Charli XCX.^[28] Alongside Backline, a similar company, Amber Health, provides similar support to music industry members. Amber provides trainers and nutritionists/dieticians alongside mental health clinicians, all specialized in working for music industry members.^[29]

The rise of these organizations combined with the support of mainstream artists is proof of positive change within the music industry. More and more resources are becoming available to artists at all levels. More artists are speaking up, sharing their stories, and spreading awareness. Mental health is a very relevant part of the music industry that must be continually addressed, considered, and supported in order for musicians and industry members to be truly successful.

^[1] Diana Yassin, “A Brief History of Streaming Services,” The Michigan Daily, December 5, 2019, http://www.michigandaily.com/arts/music/brief-history-steaming-services/.http://www.michigandaily.com/arts/music/brief-history-steaming-services/Yassin.

^[2] Luminate. 2024 Year-End Music Report, (Los Angeles, CA: Luminate, 2024). https://luminatedata.com/reports/yearend-music-industry-report-2024/

^[3] “Streaming Royalty Calculator for Spotify, Apple Music, YouTube.” LANDR. Accessed February 10, 2025. https://www.landr.com/royalty-calculator/#:~:text=Generally%2C%20payments%20per%20stream%20are,for%20the%20major%20streaming%20platforms.

^[4] “Music & Money: Recording Artist Royalties,” accessed February 24, 2025, https://www.ascap.com/help/music-business-101/money-recording.https://www.ascap.com/help/music-business-101/money-recording “Music & Money: Recording Artist Royalties.”

^[5] “The Evolution of Artists’ Income Models Over Time,” We Know Secrets, accessed February 12, 2025, https://wksagency.com/the-evolution-of-artists-income-models-over-time/.

^[6]Jessica Carmona. “2024 Wellness in Music Survey Results: 4 Insights into the Challenges Facing Music Industry Professionals.” MusiCares. Accessed February 10, 2025. https://musicares.org/news/2024-wellness-in-music-survey-results-insights.

^[7] “HINC-01. Selected Characteristics of Households by Total Money Income.” Census.gov, August 21, 2024. https://www.census.gov/data/tables/time-series/demo/income-poverty/cps-hinc/hinc-01.html.

^[8] Jessica Carmona. “2024 Wellness in Music Survey Results: 4 Insights into the Challenges Facing Music Industry Professionals.” MusiCares. Accessed February 10, 2025.

^[9] Ilan Bielas. “The Rise and Fall of Record Labels” (2013). CMC Senior Theses. 703.

https://scholarship.claremont.edu/cmc_theses/703

^[10] Passman, Donald S. “Real-Life Numbers.” Story. In All You Need to Know About the Music Business, 11th ed., 103–4. New York, New York: Simon & Schuster, 2023.

^[11] Jessica Carmona. “2024 Wellness in Music Survey Results: 4 Insights into the Challenges Facing Music Industry Professionals.” MusiCares. Accessed February 10, 2025.

^[12] Research, Edison. Rep. The Infinite Dial 2024. Edison Research, Audacy, Cumulus Media, SiriusXM Media, March 28, 2024. https://www.edisonresearch.com/the-infinite-dial-2024/.

^[13]Research, Edison. Rep. The Infinite Dial 2024. Edison Research, Audacy, Cumulus Media, SiriusXM Media, March 28, 2024.

^[14] Kelsey Weekman, “Artists Are Complaining About Their Record Labels Forcing Them To Make TikToks, But That’s Nothing New,” BuzzFeed News, May 26, 2022, https://www.buzzfeednews.com/article/kelseyweekman/halsey-tiktok-trend-label-complaint.

^[15] Rhian Jones, “‘Making Music Is about Making Assets for Social Media’: Pop Stars Battle Digital Burnout,” The Guardian, February 18, 2022, sec. Music, https://www.theguardian.com/music/2022/feb/18/making-music-is-about-making-assets-for-social-media-pop-stars-battle-digital-burnout.

^[16] Nikki McCann Ramirez, “Surgeon General Calls for Safety Warning on Social Media Apps,” Rolling Stone (blog), June 17, 2024, https://www.rollingstone.com/politics/politics-news/surgeon-general-safety-warning-social-media-apps-1235040971/.

^[17] Mark Mulligan, “Global Recorded Music Revenues Grew by 9.8% in 2023,” MIDiA Research, March 18, 2024, https://www.midiaresearch.com/blog/global-recorded-music-revenues-grew-by-98-in-2023.

^[18] “Chappell Roan Highlights Healthcare Problems in the Music Industry,” accessed February 18, 2025, https://www.rollingstone.com/music/music-features/chappell-roan-grammy-speech-healthcare-music-industry-1235258394/.

^[19] “Chappell Roan Demanded Healthcare and Living Wages in Grammys Speech,” The FADER, accessed February 24, 2025, https://www.thefader.com/2025/02/02/read-chappell-roan-2025-grammys-speech.

^[20] Elizabeth Aubrey, “James Blake Is Now an Independent Artist,” NME (blog), April 10, 2024, https://www.nme.com/news/music/james-blake-is-now-an-independent-artist-3616060.

^[21] James Blake, Instagram (blog), accessed February 18, 2025, https://www.instagram.com/p/DFawB_oxWN7/?utm_source=ig_web_copy_link.

^[22] Blake.

^[23] “Chappell Roan Highlights Healthcare Problems in the Music Industry”; Ethan Millman, “Chappell Roan’s Grammy Speech Raises Questions on Health Care in the Music Industry,” Rolling Stone (blog), February 6, 2025, https://www.rollingstone.com/music/music-features/chappell-roan-grammy-speech-healthcare-music-industry-1235258394/.

^[24] Billie Bentil, February 18, 2025.