It’s December. And if your inbox looks anything like mine, you’ve been bombarded with “Year-End Specials,” “Holiday Bundles,” and “One-Time Offers.”
Let’s pause here.
Because what we’re really witnessing isn’t just a marketing frenzy. It’s a pattern. A cultural script — driven by urgency, scarcity, emotional manipulation, and dopamine economics — that even seasoned artists fall for, year after year.
But this post isn’t about anti-capitalism.
It’s about awareness. And more specifically, what kind of “solutions” artists are buying — and what they’re actually solving for.
It’s about awareness. And more specifically, what kind of “solutions” artists are buying — and what they’re actually solving for.
And what they’re not.
Gear as a Substitute for Uncertainty (with Real Science Behind It)
Academic research has a name for what many of us experience as musicians: Gear Acquisition Syndrome (GAS).
A 2021 study published in Popular Music and Society by King and Prior outlines how GAS is not merely consumer behaviour — it’s emotionally driven identity work. Gear represents “potential”: the possibility of sounding better, being seen as legitimate, or recapturing a moment of inspiration long gone. (King & Prior, 2021)
In other words: musicians buy gear to solve psychological discomfort.
This isn't speculation. It aligns with behavioural psychology research that shows purchasing behaviour often compensates for perceived inadequacy or anxiety — a form of self-regulation or coping (Dittmar, 2008; Elliot & Sheldon, 1998).
Put simply:
- We feel uncertain → we buy a new guitar
- We feel stuck → we download another plugin
- We feel inadequate → we “treat” ourselves with concerts, conferences….’networking’ oppurtunities.
But here’s the thing: the discomfort always returns — because the gear didn’t solve it. And over time, this becomes a behavioural loop.
This is not a moral failure. It’s a nervous system pattern. A very human one. But one that, left unchecked, can cost thousands of euros without moving the artist any closer to actual alignment.
Understanding Behavioural Compensation
Behavioural compensation is a psychological phenomenon where we attempt to reduce internal tension — like fear, self-doubt, or inadequacy — by taking action in another area that feels constructive but doesn’t directly address the root discomfort. It’s often unconscious. And it can manifest in highly intelligent, creative people in incredibly unassuming ways.
In the artist’s case, buying gear is a classic example. You’re unsure of your artistic direction, but instead of pausing to reflect or seek structured support, you “solve” it by upgrading your studio. The act of buying creates a dopamine release — a sense of control, of motion, even though nothing internally has changed. You feel like you’ve moved forward, but the underlying disorientation remains.
We’re not saying gear isn’t valuable — of course it is. But the problem arises when it’s used to soothe existential discomfort. Because what you actually need in that moment isn’t another synth — it’s a container for reflection. You need support in confronting the ambiguity, in finding language for your deeper questions, and in building systems that hold you when your art feels fragile.
In short: you need a process, not a product.
What Artists Actually Spend (vs. What They Say They Can’t Afford)
This is where I want to draw a real comparison. Because I hear it often:
“I’d love to work with you, but I can’t afford it.”
And sometimes that’s true.
But more often? It’s not about money. It’s about mental categories.
Musicians will spend:
- €1,200 on a synth
- €3,500 on a custom guitar setup
- €97/month on plugin bundles
- €2,000 on acoustic treatment
- €400 on a single mic
- €25/month on sample packs they don’t use
But €300 for a career roadmap course? “Too expensive.”
€97/month for group coaching? “Not now.”
€25/month for aligned community and mentorship? “I’m not sure it’s worth it.”
€97/month for group coaching? “Not now.”
€25/month for aligned community and mentorship? “I’m not sure it’s worth it.”
This isn’t about shaming. It’s about how we’ve been conditioned to categorise value.
Gear = studio budget (permissible, pleasurable)
Coaching = self-development (feels like therapy, or “extra”)
Coaching = self-development (feels like therapy, or “extra”)
But here’s the reframe: coaching is essential operating system work. Gear without clarity is like installing plugins on a broken DAW. It won’t work until you repair the core.
Side-by-Side: Coaching vs. Gear (A Comparative Table)
Coaching Offers | Typical Gear Equivalent |
€299 DAW / €329 boutique delay pedal | |
€99 plugin subscriptions / €120 rehearsal room rental | |
€25 for strings/cables / software presets | |
€450 Shure SM7B / €3,500 guitar rig / €10,000 studio buildout |
Doing the Same Thing Over and Over
This is where the loop gets painful:
- Every year you invest in new gear, new training, new software…
- And every year, you’re still unsure how to get the gigs you want, protect your time, build healthy collaborations, or share your music without burning out.
That’s not laziness. That’s not lack of talent.
It’s strategic misalignment. You’ve been trained to solve emotional and identity questions with gear and education — when what you need is integration and reflection.
What Coaching Actually Fixes
You can’t EQ your way out of:
- People-pleasing that gets you stuck in unpaid gigs
- Chronic burnout from overscheduling yourself
- Disconnected projects that sound great but feel empty
- Visibility anxiety that sabotages releases
- A lack of direction that causes constant pivoting
“But I’m Investing in Music Lessons…”
And if you are — high five. Truly. That’s not just important. It's the most important.
If you haven’t got your craft together, you probably shouldn’t even be reading this. Go do that first. Your art deserves it.
That being said, that’s not the same as career coaching. It’s not self-development. And it’s definitely not artist development in the holistic sense.
Training on your instrument, or your voice, or your DAW — that’s like learning vocabulary.
But knowing how to communicate, what you stand for, how to navigate relationships, structure your time, protect your energy, and stay mentally and emotionally resilient? That’s an entirely different subject.
And like any serious subject, it deserves its own dedicated space.
Just like you wouldn’t cram music theory, arrangement, production, performance, and business planning into one hour with a piano teacher, you shouldn’t expect your music lessons to cover the inner work, mindset, and structural thinking that real-world artistry requires.
And here’s something no one likes to say out loud:
All other professions have this.
Athletes have performance psychologists. Executives have leadership coaches. Therapists have supervision. Teachers have professional development plans.
Why do musicians, or artists in general, assume they’re somehow immune?
Why do you think you’re different?
Do you believe your nervous system is less complex than that of a high-performance athlete?
Do you think your career choices matter less than those of a CEO?
These are real questions. Because if you care about your work, and your longevity, and your well-being… this isn’t extra. It’s essential.
The problems you will be faced with and will need to solve are not “branding” problems. They’re identity problems. Nervous system problems. Self-leadership problems.
And those are coachable. (But not fixable with new equipment.)
This Season, Rethink What You’re Buying
I’m not here to ruin the joy of getting new gear. I love beautiful instruments. I work with some of the best instrument makers in the world.
But the brands I represent trust me because of my clarity — not my consumption. They know I stand for long-term artistry, not seasonal dopamine.
So this season, when the inbox fills up with shiny sales and bundles, pause for a moment.
Ask:
“What’s the pattern here?”
“What have I bought over and over without real change?”
“Where have I avoided the inner conversation by outsourcing it to tools?”
“What have I bought over and over without real change?”
“Where have I avoided the inner conversation by outsourcing it to tools?”
Because maybe the best gift to yourself isn’t another device to plug in.
Maybe it’s a structure for finally hearing your own voice.
Maybe it’s a structure for finally hearing your own voice.
References:
- King, M., & Prior, N. (2021). Gear Acquisition Syndrome: Consumption of Instruments and Technology in Popular Music. Popular Music and Society, 44(3), 311–328. Link
- Dittmar, H. (2008). Consumer Culture, Identity and Well-Being. Psychology Press.
- Elliot, A. J., & Sheldon, K. M. (1998). Avoidance personal goals and the personality-illness relationship. Journal of Personality and Social Psychology, 75(5), 1282–1299.
- Ericsson, K. A., Krampe, R. T., & Tesch-Römer, C. (1993). The Role of Deliberate Practice in the Acquisition of Expert Performance. Psychological Review, 100(3), 363–406.
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