After Liam Payne’s death, the music industry must examine its treatment of young artists (guest column)

Lucy Heyman is a performance health and psychology coach; Rhian Jones is a freelance music writer. They collaborated on the 2021 book “Sound Advice: The Ultimate Guide to a Healthy and Successful Career in Music,” which has an updated international edition on November 14. variety accepts responsible comments; contact [email protected] if you are interested.

The tragic death of One Direction member Liam Payne, aged just 31, has reignited a discussion about the pressures of the music business and their impact on performers, especially young ones.

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Katie Waissel, Payne’s fellow contestant on “The X Factor,” the British TV competition where One Direction formed in 2010, said his death “serves as a painful reminder of the systemic neglect that persists” in the music industry, where the focus remains on profits rather than taking care of the people who work there. “Neglect of duty of care has once again resulted in heartbreaking loss,” he wrote.

Social media has dramatically intensified the pressures of fame, offering an unnatural level of adoration and vicious criticism within seconds. As Payne’s family and friends have experienced, this short-sighted and painful commentary, posted by people who can remain anonymous, lives on even in death.

Many musicians have spoken about the downsides of what can seem like a luxury lifestyle. Billie Eilish has said she lost the fun of her teenage years because of work, and Justin Bieber has spoken about the loneliness and isolation of being stuck in a hotel room while fans and the paparazzi circulate outside. As Lady Gaga has said: “As soon as I step out into the world, I belong, in a way, to everyone else. It’s legal to follow me, it’s legal to chase me on the beach.”

While all of the above would be difficult for anyone to handle, there is evidence to suggest that some musicians may find the nature of public life particularly difficult. A growing number of artists are opening up about their ADHD diagnoses, and Payne was one of them. It’s no surprise: ADHD and creativity are linked, and sufferers often find it easier to come up with ideas, such as writing songs. However, fame poses complex problems for people with ADHD, thanks to the problems of impulsivity, inhibition, and risk-seeking behavior that come with the condition. There is also a growing link between ADHD and addiction.

Due to the lack of structure that comes with life as a musician and the work rules that you would hardly associate with a “proper” job, alcohol and all kinds of drugs can be very easily accessible and often socially acceptable. Payne was open about his own struggles with substance abuse. Drugs and alcohol can be excused in the studio as tools to “enhance creativity”, substances are consumed at all hours, and late nights and early mornings allow for multitudes of excess. Add the pressures of the job, maintaining a certain level of perceived success; performing live, in interviews and in the studio, and it’s easy to see how dependencies can develop.

There is another important aspect to Payne’s story. After spending six years as part of One Direction, and becoming one of the best-selling boy bands of all time, this rare success did not continue into his solo career; although details are unclear, sources say Payne’s business affairs were in an unresolved state at the time of his death. The loss of identity this can cause cannot be understated, especially when you have become accustomed to an extreme lifestyle before you have reached full maturity, from a brain development perspective, this does not occur until a reaches twenty; Payne was 17 when he became a superstar. Psychotherapist Tamsin Embleton explained the impact of this on the Elevate Music podcast:

“The industry is all-encompassing, so your sense of who you are and your support network often comes from the industry. When that gets wiped out, it can be really devastating. You can be left with low self-esteem, problems with ‘identity, belongingness and relevance issues There is a great loss not only of the role, of your job, but also of your identity or a sense of abandonment by the team, so you can stay -you very desperate and isolated, rejected and ashamed.”

Payne’s death has put new scrutiny on a music business that deserves it. That’s not to say there isn’t evidence of progress in this area: the work of nonprofits like MusiCares, which provides health and wellness services to the music community; Sweet Relief, a fund for musicians and executives who are struggling with health and other issues; and the Backline mental health resource service is permanent and essential. At the same time, the open and continued discussion of the issues facing musicians is encouraging. There are several mental health initiatives at major labels and management companies, all of which are in the right direction. Alcoholics Anonymous, Narcotics Anonymous, and SMART Recovery can offer help to anyone struggling with substance abuse problems.

Still, it’s clear that a total culture change isn’t moving fast enough. As Chappell Roan, who recently canceled tour dates due to exhaustion, has said, “If you don’t protect yourself, you thrive. If you don’t take care of yourself, you can have a pretty big, amazing career. We all see what happens if you don’t prioritize your health.”

What could the industry do to better protect its artists in the future? Top songwriter Guy Chambers has called for a ban on allowing under-18s to join pop bands. His collaborator, boy band veteran Robbie Williams, has called for a change in the way society deals with fame. There are also things that should be obvious, such as taking balance and free time into account when booking times. Therapy, from a specialist familiar with the music industry and fame who has no conflicts of interest, should be a given, as should support for artists who have experienced success and had to make the difficult transition to “normal” life. This is especially important for people with ADHD or autism. Training for people working with artists in substance misuse could help others spot problems early and offer support and stop all business engagements when it is clear there is a problem.

Looking at how children are protected in other industries there is no shortage of examples for care. The purpose of these policies is to protect minors from behavior that could negatively affect their mental health or development (which is almost guaranteed when you become a teenage pop star). For the music industry, this could include criminal background checks for those working with children, essential for anyone working in an educational setting in the UK, with supervised and responsible activity. Licensed chaperones accompanying artists to engagements, acting as advocates to protect them and speak on their behalf, is another potential solution.

Ultimately, smoothing the rocky path of a path to stardom will be a work in progress, with different measures working for different people. But it’s essential that those working in the music business take it seriously to address deep issues that clearly don’t go away with time.

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