Background Performing artists frequently face mental health challenges, with risk factors including performance pressure, industry competitiveness, and irregular work patterns. Barriers to seeking help encompass confidentiality concerns, fear of misunderstanding by clinicians, and scheduling conflicts due to peripatetic work.

Aims This study aims to evaluate the accessibility, utilisation, and effectiveness of a Mental Health Support Service (MHSS) for performing artists.

Methods A 12-month evaluation of a UK-wide MHSS for performing artists was conducted. 555 self-referred performers received 6-8 sessions of talking therapy from experienced professionals. Pre- and post-intervention mental health was assessed using PHQ-9 and GAD-7 scales. Quantitative data were analysed using paired t-tests, and qualitative feedback underwent thematic analysis.

Results 240 performers completed pre- and post-intervention scores. Significant reductions in PHQ-9 (mean decrease 6.242, p<0.0001) and GAD-7 (mean decrease 6.225, p<0.0001) scores were observed post-intervention. Qualitative feedback (n=215) revealed high satisfaction, with 88% willing to recommend the service. Key themes included appreciation for tailored support and therapist-performer compatibility. Limited data on outcomes for global majority participants and gender differences necessitate further research.

Conclusions This evaluation of a mental health support service for performing artists reveals high satisfaction rates and willingness to recommend the service, highlighting the value of tailored interventions that address industry-specific challenges. The findings underscore the importance of developing sector-specific mental health standards and support systems, particularly for industries with high proportions of freelance workers, which could have broader implications for improving mental health support across diverse professional fields.

The authors have declared no competing interest.

This evaluation was made possible through the generous support of Music Minds Matter, Equity and Dance Professionals Fund. We gratefully acknowledge their financial contribution to the MHSS which this paper evaluates.

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