In today’s music market, it seems like publishing on social networks belongs to the task description. In between revealing releases, teasing behind-the-scenes shots, and carrying out on Reels, artists are anticipated to be full-time material developers. It’s no longer sufficient to simply make music– you need to feed the algorithm, react to remarks, and stay non-stop noticeable. What takes place if you do not? Can you make it through as an artist today without playing the Instagram video game?
For lots of independent artists, particularly in India, the concept sounds unimaginable. These platforms are the couple of tools they need to reach their audience straight, especially without significant label support. The flip side of that gain access to is a burnout cycle that couple of desire to talk about. A growing body of research study now validates what artists have actually been stating for many years– that the pressure to continuously develop material is harming their psychological health and jeopardizing their work.
In a 2025 research study led by scientists at Goldsmiths and University College London (UCL), artists explained social networks as a “content factory”– an environment that made them feel mentally detached, nervous, and compulsively engaged, typically at the expense of imagination. The paper, released in Frontiers in Psychologyincluded interviews with 12 UK-based artists, who confessed that social networks frequently made them feel “inferior,” set off unhealthy contrasts, and took some time far from songwriting and rest. One individual stated, “I come off phase and the very first thing I do is examine my phone to see what individuals stated online. It’s no longer about how the program felt– it’s about how it looks.”
This lines up with more comprehensive psychological health information. A different December 2024 research study from UCL, including over 15,000 UK grownups from various citizenships, discovered that publishing on social networks– not searching, not prowling– was connected to increased mental distress one year later on. Individuals who published daily reported considerable decreases in wellness, even after representing pre-existing psychological health conditions. On the other hand, those who took in material passively revealed no such decrease. The lead scientist kept in mind that the pressure to share openly might sustain stress and anxiety and identity tension, especially amongst individuals whose professions depend upon carrying out for an audience. A worldwide research study throughout 29 nations likewise discovered that extreme social media usage is associated with lower wellness and greater mental distress, specifically in locations where it’s commonly utilized.
And it’s not simply emerging artists feeling this stress. Addison Rae, among the most identifiable faces of TikTok-era popular culture, has actually spoken honestly about going back from the web after feeling “so misconstrued” online. She explained how the continuous push to remain pertinent made her feel detached from her genuine self. Star Taron Egerton, while promoting his brand-new program She Rides Shotguninformed journalism that being back online after a hiatus made him feel “even worse,” which he planned to leave once again quickly. Their sincerity talks to something much deeper– that even those who apparently benefit most from social networks can discover it mentally draining pipes and artistically suffocating.
The music market hasn’t made going back simple either. Let’s be truthful: exposure is as near to currency as it gets. Algorithms reward frequency, not quality. Artists typically seem like they’re being punished for not publishing enough– losing playlist areas, falling off celebration shortlists, or being passed over for projects. Even artist supervisors and PR groups now consider engagement rates before pitching for gigs. The presumption is: if you’re not online, you’re not working.
In India, this pressure is increased by the lack of alternative discovery systems. TikTok is prohibited, terrestrial radio does not have depth, and press protection is really minimal. For numerous artists, their Instagram profile functions as an organization card, showreel, and scheduling portal all rolled into one. From college celebrations to brand name projects, fan count is typically the very first filter used. Some artists are quietly starting to withstand.
Take Mumbai-based rap artist The Siege, whose sporadic Instagram existence stands in plain contrast to his effective live efficiencies. In some way, Siege has actually developed a devoted following not through day-to-day posts however through constant, significant releases and word-of-mouth buzz. His set at GullyFest 2024 was an advancement minute– not due to the fact that it trended online, however since it resonated in the space.
Prateek Kuhad, one of India’s most-streamed indie artists, preserves a stripped-down Instagram existence. He hardly ever posts daily updates or Reels. In spite of that, his music has actually reached international audiences, landed him an area on Barack Obama’s 2019 playlist, and offered out trips throughout the world. His success provides an effective counter-narrative to the concept that exposure should be continuously pushed in our faces to be reliable.
Even Bollywood playback powerhouse Arijit Singh keeps his engagement very little. He prevents direct fan interaction, seldom posts selfies or individual minutes, and does not utilize his social networks to press his existence. And yet, he stays among the most listened-to artists on the planet (in truth, he has more fans than Taylor Swift on Spotify).
These artists have not gone totally offline, however they’ve recovered control of the speed. They’ve drawn limits on what their digital lives owe the world. And while their outcomes might not constantly be viral, some market voices see this as a healthy recalibration. Prachee Mashru, creator of THIS? Firm that deals with artists such as Shah Rule, Ritviz, and Gini states, “I believe a great deal of artists today feel torn. On one hand, I comprehend the requirement to develop and utilize the tools offered– social networks is as much a part of PR and marketing now as physically dropping off CDs or USBs when was. It’s likewise an entire various video game: you’re not simply focused on making music any longer; you’re continuously believing about the material that will market it, how it will be viewed, and how to keep individuals engaged.”
Pulling out isn’t a choice for everybody. For the majority of independent artists in India– specifically those from local, Dalit, queer, or financially disadvantaged backgrounds– Instagram is typically the only entrance to discovery. It’s where editors, promoters, and reservation representatives very first experience your name. What this exposes is a much deeper problem: excessive power has actually been delivered to platforms that were never ever developed with artists in mind. Exposure has actually ended up being associated with practicality. Fan counts now act as a proxy for worth, and material cadence is frequently provided more weight than craft or consistency.
The present system incentivizes efficiency over procedure, product packaging over perseverance, and audience development over creative expedition. Social network is framed as a service, however for lots of artists, it’s another arena in which they need to continuously contend, adjust, and sacrifice comfort.
It’s worth asking: why has a market developed around imagination ended up being so connected to platforms constructed around efficiency metrics? Why are artists anticipated to keep a digital personality to confirm their real-world output? And why does picking rest or personal privacy still feel expertly dangerous?
If music is to stay an area for truth-telling, experimentation, and psychological sincerity, then the systems that support it should likewise develop. That suggests broadening meanings of success beyond presence. It implies supporting designs where artistry does not depend on feed frequency. And it suggests appreciating an artist’s right to log off without vanishing due to the fact that not every artist wishes to be an influencer. And they should not need to be.