Musicians frequently experience frisson while performing, study suggests

Musicians often report experiencing goosebumps, shivers, or a tingling sensation when performing music—commonly referred to as “musical chills.” A new study published in the journal Psychology of Music has found that these chills are not limited to audiences but are also a common and emotionally meaningful experience for performers themselves.

While many studies have explored how music listening can evoke chills (a phenomenon often referred to as frisson) far fewer have asked whether similar sensations occur during music performance. Frisson, or musical chills, is typically described as a sudden, intense physical response, such as goosebumps, shivers down the spine, or tingling in the skin, that accompanies a strong emotional reaction to music. These sensations are usually brief and involuntary, and are often associated with moments of musical beauty, surprise, or emotional intensity.

“We were interested in building on previous musical chills research — nearly all of which is focussed only on music ‘listeners’ — to investigate whether musicians have similar strong emotional experiences while playing or performing music,” said study author Scott Bannister, a postdoctoral research fellow at the University of Leeds and co-director of the Leeds Music Psychology Group.

“In particular, we were interested in the idea that musical chills (i.e., emotional goosebumps, shivers or tingling sensations in response to music) might reflect experiences of social connection or bonding, and we felt that music performance (especially performing with other people) may be an effective situation for creating such social and emotional experiences.”

To investigate these questions, Bannister and his co-author Emily Payne conducted an online survey of 218 musicians. Participants were recruited through academic mailing lists, music-related Facebook groups, and professional networks. The survey collected a range of demographic and musical background information, such as age, gender, primary instrument, musical experience, and usual performance setting.

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The key portion of the survey asked whether participants had ever experienced chills while performing music. Those who said yes were asked to describe a specific instance. They were prompted to recall the type of performance, the venue, whether they were performing alone or with others, and whether an audience was present. Participants also rated the importance of various factors, such as the music, co-performers, audience, and performance context, in contributing to their chills experience.

Out of the full sample, 176 participants reported experiencing chills during performance. Most of these individuals could recall a specific performance in which chills occurred, and the majority were actively performing when the sensation happened. In many cases, chills occurred during ensemble performances, such as choirs, orchestras, or small groups. However, chills were also reported during solo performances, rehearsals, and informal musical gatherings.

Participants provided detailed descriptions of their emotional and physical reactions. The most frequently reported sensations included goosebumps, shivers, tingling, and in some cases, tears. Many described these experiences as overwhelmingly positive. The most common emotional states associated with chills were joy, awe, fulfillment, and deep emotional engagement. Some respondents said the chills were so intense they briefly interrupted their ability to perform.

In their written responses, performers often described feeling immersed in the music or entering a state of heightened focus. Some referred to these moments as transcendent or transportive, suggesting a temporary shift in awareness. Others mentioned experiencing a sense of flow—a mental state characterized by full absorption in an activity. These descriptions closely mirror what has been reported in prior research on music listening, where chills are often linked to peak emotional arousal and deep engagement.

A significant number of participants also described feelings of connection. This could be a sense of unity with other performers, a feeling of alignment with the audience, or a bond with the music itself. Some spoke of playing or singing in perfect synchrony with others, while others described performing a piece that held personal or emotional meaning. One participant recalled performing a song that was a favorite of a family member who had been battling illness, noting that the performance held particular emotional weight.

The researchers found that musical structure played an important role in triggering chills. Participants frequently mentioned moments involving harmonic resolution, climactic passages, or the sudden entrance of a new instrument or voice. These musical features have been identified in previous studies on music listening as being strongly associated with chills. However, performers appeared to experience these features in the context of their own expressive role, adding a layer of active involvement not present in passive listening.

In rating the factors that contributed to their chills experiences, participants consistently identified the music itself as most important. Co-performers were also rated as influential, particularly when performers felt emotionally or musically in sync. The audience and venue were rated as less significant overall, though some participants emphasized the role of a receptive audience or the atmosphere of a special performance space. A few highlighted how certain venues enhanced acoustics, which in turn may have intensified their emotional response.

Personal meaning emerged as another frequent theme. Some performers attributed their chills to the significance of the performance—whether it was a debut, a farewell, or a tribute to someone important. These moments appeared to carry emotional weight that heightened the likelihood of a chills response. Others noted that familiarity with the piece, or the achievement of a performance goal, contributed to the sensation.

“The findings from the study indicate that people experience chills when playing or performing music, and that these emotional responses: 1) are often positive and intense; 2) appear related to experiences of ‘flow’ during performance; 3) often involve feelings of connection with the music being played, and with other performers,” Bannister told PsyPost.

While the study does not establish causality, the findings highlight associations between chills and several components of psychological wellbeing. These include emotional fulfillment, engagement and focus, social connection, and a sense of accomplishment. This aligns with theoretical models of wellbeing, such as Martin Seligman’s PERMA framework, which includes positive emotion, engagement, relationships, meaning, and accomplishment as key elements of a flourishing life.

“This is all very preliminary as an interpretation, but through this lens the study demonstrates an initial link between musical chills and wellbeing, which we would be very excited to explore in the future,” Bannister said.

But the researchers caution against assuming that chills during performance always indicate a specific type of emotional state or social bond. Chills are likely to be shaped by a range of individual and contextual factors. As such, more controlled research is needed to examine how different variables—such as performer expertise, ensemble type, and audience presence—might influence the chills experience.

“Regarding the links between musical chills and wellbeing, this is very preliminary and derives from our interpretations of the data and identifying patterns that seem to align with an existing model of wellbeing,” Bannister said. “There is very little direct research on these possible associations, and so every aspect of the relationship remains an open question to be investigated in future work.”

Looking ahead, the researchers explore how different features interact during live performances. They hope to better understand how these interactions might give rise to moments of intense emotion, such as chills. Such work may also help clarify whether and how musical chills contribute to psychological wellbeing.

“We would be very interested in performing experiments with musicians in small ensembles (e.g., duets, trios, quartets) to investigate experiences of emotion, social connection, and chills responses in real-time,” Bannister explained. “This would allow us to explore the complex interplay of performer relationships, the performance itself (i.e., quality, expressivity, errors…), and the features and characteristics of the music being performed, and how this interplay may afford emotional experiences of goosebumps, shivers and tingling sensations.”

The study, “A survey of musical chills experiences while performing music,” was authored by Scott Bannister and Emily Payne.