What Are Limiting Beliefs (And How Do They Affect Artists)?

The Hidden Struggles of Musicians  

 You’re in your studio at your instrument, maybe that DAW window’s open, and the hours keep getting longer. But you’re not getting anywhere.

That melody which sounded promising yesterday feels flat today. And a part of you goes, ‘...why bother?’

This might be the same track you’ve agonized over for weeks, convinced it’s not that masterpiece ready for the world to hear just yet. Or perhaps you’ve been putting off sharing your music entirely for the time being, telling yourself, ‘I’ll release it all when it’s better’.  

Sound familiar? 

You’re not alone my friend. These feelings—self-doubt, procrastination, perfectionism, fear of failure—are struggles that pretty much all musicians face, in my experience.

But have you ever stopped to ask where these thoughts might come from? 

Chances are there’s a deeper force operating beneath: Limiting beliefs.

In this article, I’ll discuss the subtle ways in which limiting beliefs can infiltrate the musician's mind, examine their psychological roots, and explore their impact on musical creativity and career growth. 

I’ll also delve into evidence-based strategies for identifying and overcoming these beliefs—so you can break free, create authentically, and share your art confidently.   

What are Limiting Beliefs?

Limiting beliefs are deeply ingrained assumptions about yourself and your abilities that restrict what you believe you can achieve. 

For musicians, they might sound like:

 ‘’......I’ll never be as good as [insert idol here]’’.

‘’....There’s no room for someone like me in the industry’’.

‘‘....I’m just not talented enough’’,

‘‘.....I’m too late to make it in the industry’’, 

‘‘....I don’t deserve to succeed’’.

Limiting beliefs often masquerade as objective truths, but in reality, they are rooted in cognitive distortions—mental habits that skew reality by overgeneralization, self-deprecation, or catastrophizing.  

Unspoken narratives that whisper things like the above into your inner ear.

The covert manner in which they operate is an additional challenge that can be a lot to handle. These are not the kind of beliefs that announce themselves boldly, but weave into your inner dialogue, often posing as ‘’reasonable’’ doubts or “practical” caution.

When left unaddressed, they can grow into a permanent negative spiral threatening to cripple your creative process in the long run, making it harder to compose, record, and in some extreme cases, even pick up your instrument.

Where do Limiting Beliefs Come From?

Limiting beliefs usually stem from past experiences: a harsh critique from a teacher, a failed audition, or offhand comments from friends and family. 

Over time, they can crystallize into internalized narratives that hold you back. Social and cultural pressures, like the glamorization of "overnight success" or the perception that only prodigies thrive in music, amplify these beliefs.

''..I was a nobody. And overnight (after recording with A.R.Rahman), my social media accounts blew up and people started to message me from all over the world. It was great in the beginning, but down the line, it took a toll on me and I was lost because I had defined my entire career and life based on this, which was never originally the plan. People kept asking 'what's happening next?', and that really got to my head. '' --Madhura Talluri (Client/Podcast Guest. A.R.Rahman, Berklee Ensemble).

  

Beliefs vs facts

Here’s the good news: limiting beliefs are not facts. They are potential mental barriers that exist only when we believe them. And while they can feel overwhelming, they can also be challenged and transformed. Understanding how they operate is the first step toward freeing yourself from their grip.  

This is supported by research. According to Beck (1976), automatic thoughts—often negative and self-limiting—are cognitive distortions rather than accurate reflections of reality. These distortions can be challenged and reframed through cognitive restructuring, a cornerstone of CBT.

(Further evidence comes from research by Ellis (1962), the founder of Rational Emotive Behavior Therapy (REBT), who emphasized that beliefs, especially self-defeating ones, are not immutable truths but interpretations that can be examined and replaced with more constructive alternatives).

The Psychological Foundations of Limiting Beliefs  

 The origins of limiting beliefs are multifaceted, and shaped by individual experience, societal norms, and psychological mechanisms. Social learning theory (Bandura, 1977) suggests that beliefs are often formed through observation and reinforcement.

For example, a young artist told that “art is not a viable career” during their most formative years may internalize this perspective without even realizing it, leading to self-doubt that persists into adulthood.  

For us artists, where ‘work’ often intertwines personal identity with professional output, these beliefs can be especially debilitating. They create an internal dialogue that can echo and amplify every external rejection or critique hence hindering creative exploration very deeply.

Cognitive-behavioral research emphasizes that limiting beliefs are maintained by cognitive distortions, such as all-or-nothing thinking or overgeneralization (Beck, 1976). For artists, this might manifest as interpreting a single critique as evidence of lacking talent or assuming that success in the arts is unattainable for anyone outside an elite group.  

Furthermore, self-efficacy—the belief in one’s ability to succeed—plays a crucial role in overcoming challenges. Low self-efficacy has been shown to correlate with avoidance behaviors, reduced persistence, and increased susceptibility to negative feedback (Bandura, 1997). These patterns align closely with the struggles artists face when grappling with limiting beliefs.  

How Do Limiting Beliefs Manifest in Artistic Practice?  

The effects of limiting beliefs on artists are profound, shaping both the process and outcome of their creative work. Below are some key ways these beliefs can manifest:  

1. Procrastination and Perfectionism

Research highlights the connection between perfectionism and procrastination, with individuals often delaying tasks to avoid potential failure (Steel, 2007). For artists, the belief that their work must be flawless before sharing it with others can lead to perpetual cycles of revision and delay, preventing meaningful progress.  

2. Fear of Rejection

Rejection sensitivity, a psychological tendency to fear and avoid rejection, is particularly relevant for artists whose work is inherently personal (Downey & Feldman, 1996). Limiting beliefs exacerbates this fear, creating a paralyzing cycle where fear of judgment hinders creative expression, which in turn diminishes opportunities for growth and feedback.  

3. Imposter Syndrome

The rise of social media has amplified comparison culture, with artists frequently comparing their work to curated online portfolios. This can trigger imposter syndrome, the persistent belief that one’s achievements are undeserved (Clance & Imes, 1978). Such comparisons fuel limiting beliefs, making artists question their legitimacy or value in their field.  

4. Self-Sabotage

Self-sabotage, a behavior driven by unconscious beliefs of unworthiness, is common among individuals grappling with limiting beliefs (Kearns & Cross, 2014). For artists, this may appear as missed deadlines, underpricing work, or avoiding opportunities that could lead to exposure or success.  

Overcoming Limiting Beliefs   

The good news is that limiting beliefs can be identified, challenged, and ultimately replaced with empowering narratives. Psychological research and practical interventions offer several strategies to help artists overcome these barriers:  

1. Cognitive Reappraisal

Cognitive-behavioral therapy (CBT) techniques encourage individuals to identify and reframe negative beliefs. For example, instead of believing, “I’m not talented enough to succeed,” an artist might reframe this as, “Every artist grows through practice and persistence.” Studies show that cognitive reappraisal improves emotional regulation and resilience (Gross, 2002).  

2. Self-Compassion

Neff (2003) defines self-compassion as treating oneself with kindness and understanding during moments of failure. Research indicates that self-compassion fosters motivation and reduces self-criticism, enabling artists to take creative risks without fear of judgment.  

3. Incremental Goal Setting

Adopting an incremental mindset, which focuses on progress over perfection, can help combat the paralysis caused by limiting beliefs (Dweck, 2006). By setting achievable goals, artists build confidence and momentum, gradually eroding the power of self-doubt.  

4. Social Support

Community plays a vital role in challenging limiting beliefs. Studies show that collaborative environments reduce feelings of isolation and increase self-efficacy (Eryilmaz, 2012). Artists who engage with supportive peers are more likely to share their work and embrace constructive feedback.  

5. Mindfulness Practices

Mindfulness meditation has been shown to reduce the impact of negative thought patterns by promoting present-moment awareness (Kabat-Zinn, 1990). For artists, mindfulness can create mental space to observe and challenge limiting beliefs without becoming entangled in them.  

The Role of Limiting Beliefs in the Artistic Journey  

Art is a vulnerable act. It requires exposing parts of oneself to an often indifferent or critical world. Limiting beliefs are the internal gatekeepers that whisper, ‘‘...you’re not enough’’. However, as research consistently demonstrates, beliefs are not immutable. They are habits of thought that can be reshaped through awareness, intention, and action.  

For artists, overcoming limiting beliefs is not just about unlocking our creative potential—it’s about reclaiming agency over the narrative. The way I see it, the world doesn’t need perfect art as much as it does needs honest, authentic expression. And while not as black and white as this may sound, the first step toward that authenticity can often be confronting the false stories that keep us small.  

As the psychologist Carl Rogers once wrote: “The curious paradox is that when I accept myself just as I am, then I can change.”

Embracing this paradox can be the most transformative act of all for artists.

References  

**Core References on Limiting Beliefs and Cognitive Psychology**  

- Bandura, A. (1977). *Social Learning Theory*. Englewood Cliffs, NJ: Prentice-Hall.  

- Bandura, A. (1997). *Self-Efficacy: The Exercise of Control*. New York: Freeman.  

- Beck, A. T. (1976). *Cognitive Therapy and the Emotional Disorders*. New York: International Universities Press.  

- Burnette, J. L., O’Boyle, E. H., VanEpps, E. M., Pollack, J. M., & Finkel, E. J. (2013). Mind-sets matter: A meta-analytic review of implicit theories and self-regulation. *Psychological Bulletin*, 139(3), 655.  

- Ellis, A. (1962). *Reason and Emotion in Psychotherapy*. Secaucus, NJ: Lyle Stuart.  

- Gross, J. J. (2002). Emotion regulation: Affective, cognitive, and social consequences. *Psychophysiology*, 39(3), 281–291.  

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**On Perfectionism, Procrastination, and Fear of Rejection**  

- Clance, P. R., & Imes, S. A. (1978). The imposter phenomenon in high-achieving women: Dynamics and therapeutic intervention. *Psychotherapy: Theory, Research & Practice*, 15(3), 241–247.  

- Downey, G., & Feldman, S. I. (1996). Implications of rejection sensitivity for intimate relationships. *Journal of Personality and Social Psychology*, 70(6), 1327–1343.  

- Steel, P. (2007). The nature of procrastination: A meta-analytic and theoretical review of quintessential self-regulatory failure. *Psychological Bulletin*, 133(1), 65–94.  

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**On Self-Compassion and Self-Sabotage**  

- Kearns, H., & Cross, E. (2014). The imposter phenomenon: An internal barrier to empowerment and achievement. *Frontiers in Psychology*, 5, 179.  

- Neff, K. D. (2003). Self-compassion: An alternative conceptualization of a healthy attitude toward oneself. *Self and Identity*, 2(2), 85–101.  

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**On Artistic and Creative Growth**  

- Dweck, C. S. (2006). *Mindset: The New Psychology of Success*. Random House.  

- Eryilmaz, A. (2012). A model of subjective well-being for adolescents in high school. *Journal of Happiness Studies*, 13(2), 275–289.  

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**On Mindfulness and Awareness**  

- Kabat-Zinn, J. (1990). *Full Catastrophe Living: Using the Wisdom of Your Body and Mind to Face Stress, Pain, and Illness*. New York: Delacorte.