The QUO Podcast: Ep 8 - Elsen Price on mental health discrimination in the music industry
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Story

The QUO Podcast: Ep 8 - Elsen Price on mental health discrimination in the music industry

Issues/Mental Health , Issues/Employment , Issues/Discrimination , Issues/Arts & Culture , Locations/NSW/Potts Point , Stories/792
Potts Point NSW 2011
22nd Apr 2021
The QUO Podcast: Ep 8 - Elsen Price on mental health discrimination in the music industry

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Professional double bassist Elsen Price faced the prospect of financial penalisation after he was unable to attend a gig due to his adjustment disorder.

Elsen Price is an established professional double bassist who has performed as a featured artist both local and internationally. In 2018, Elsen sustained a serious spinal injury that required a significant period of rehabilitation.

“While I was initially told I may only need a week to recover, what started as a journey to the emergency room ended up being a four-month period of recovery,” he says.

His immediate network was extremely supportive, but the financial strain of not being able to play for an indefinite period and the potential prospect of lifelong damage took a significant toll on Elsen’s mental state.

Elsen was also surprised to find himself with the potential prospect of financial penalisation after he was not able to attend a gig due to his ongoing recovery.

“I had a ten-year career prior to my spinal injury, but this was the first time I had experienced that kind of penalisation and discrimination due to mental health illness.”

He had always considered himself privileged among musicians. With significant success and recognition, he was lucky to enough to love his job as a professional musician.

“It’s a pretty great job because we judge each performance by how much we enjoy it,” he says.

However, without knowing when he would be able to play again, he found himself in a state of continual anxiety and he even started developing physical symptoms.

“What started essentially as nervous coughing every morning escalated to the point where I was coughing and there was blood coming out. I would then be getting dizzy and sometimes, I would black out,” he says.

What he was experiencing was a severe adjustment disorder, an emotional or behavioural reaction to a stressful life event.

“When you haven’t experienced something before, you obviously don’t understand it until you do. I probably wasn’t very how honest with how stressed I was getting about the financial aspect or whether I could perform again,” he says.

Elsen was able to change his lifestyle to mediate his stress levels with the help of a specialist who taught him specific breathing exercises.

“It wasn’t a quick fix. It was a slow, progressive fix,” he says.

During this period, he was often unable to perform and found himself again in a cat and mouse situation. He would commit to performances, and then often be unable to play on the night.

Once again, he found himself in a situation where he was not paid for a performance. Upon meeting with the individual who hadn’t paid him, he was told that he had behaved unprofessionally and subsequently discovered the individual had been telling other people in his musical network that Elsen was unprofessional as well as spreading other defamatory information.

“It later escalated to a threat. The person said, ‘if you tell anyone about what I have done, this is what I’ll do to you’,” Elsen says.

During COVID-19, with his adjustment disorder well-managed, Elsen was able to spend his time reflectively and explored whether the mental health discrimination he had experienced was more widespread.

“It was confronting hearing similar stories from people who are in such a close network to you. It became quite obvious that people didn’t feel comfortable talking about these kinds of issues within the music industry,” he says.

With more evidence from other musicians who had also been subject to threats and discrimination, Elsen took an active step to become an advocate for himself and his community by joining the Arts Party. He feels that artists are often very thankful for the little work they get because of the competitive and restrictive nature of the industry in Australia.

“Music in this part of the world is an extraordinarily difficult occupation. There are various laws that limit live performance here and there are not many places to work as an artist,” he says.

In his mind, the fact that many artists have lost their lives to mental health issues in the recent past should provoke more urgent change within the industry.

“Mental health awareness is definitely something that needs to be tackled more proactively. I don’t want to see other people targeted the same way I was,” he says.

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