3 Common Singing Myths (and Why They’re Wrong)
In my work as a voice coach, I often hear the same statements repeated by singers eager to improve. Some are valid goals—but others stem from widespread misconceptions. These singing myths often gain traction because they sound sensible on the surface, but when we dig deeper, we find that they’re misleading or outright unhelpful.
Let’s explore three of the most common singing myths I hear—and unpack why they’re mistaken, and what to focus on instead.
Singing Myth 1. “I need to work on my confidence”
I’ve written on confidence before, where our culture tends to prioritise charisma over competence. And sure—how we feel emotionally can affect how we perform. We’ve all had great days and terrible days.
But here’s the trap: many singers now believe that confidence is more important than technical ability. They place more emphasis on emotional readiness than on actual skill.
Emotions matter… but…
Yes, emotions influence performance. But they can’t make up for a lack of technical control. You need to possess the skill before emotion can elevate it.
Take a concert pianist. They don’t rely on “feeling confident” to play well—they train until playing the piece correctly becomes second nature. Only then does emotion take it to a higher artistic level.
The same is true in singing: competence comes first.
Take-home point: True confidence is a by-product of competence. Train your voice until singing well feels almost boring in its consistency—then you’ll find real confidence waiting for you.
Singing Myth 2. “I need to work on my breathing”
Breathing absolutely matters. We need breath to make sound. I give clients instructions related to breathing all the time. But just like with confidence, this area has become mythologised.
Some singers (and even some vocal methods) treat breath as the be-all and end-all—as if mastering it will fix everything.
Let’s consider the mechanics
Air is the fuel—but it’s not what makes the sound. The vocal folds inside your larynx act as valves that regulate airflow. They are the engine that transforms air into sound.
If your vocal folds aren’t trained to resist airflow correctly, the result will be:
- Too little resistance → airy, weak tone; breath runs out fast
- Too much resistance → tight, pressed tone; oxygen depletion without full breath use
So when someone says, “I need to work on my breathing,” 99% of the time the real issue lies in poor vocal fold coordination—not the breath itself.
It’s all trainable—but not by “working on breathing” alone
This misconception is especially common in older singers or those trained in traditional musical theatre, where excess airflow was often encouraged. The result? Muscle tone degrades, and vocal efficiency drops.
Take-home point: If your vocal folds aren’t managing airflow efficiently, it’s not your breathing that’s broken—it’s your engine that needs tuning.
Singing Myth 3. “I need to work on my belt”
This one is big in musical theatre circles, but comes up with rock singers too. “Belting” generally refers to singing high notes with intensity and a particular tonal quality—something more urgent or attention-grabbing than normal singing.
The problem
What most singers mean when they say they want to work on their belt is: “I want to yell my high notes, but without hurting myself.”
That’s not how it works.
Yelling regularly is destructive. It diminishes range and tone over time. It’s hard on the voice, even if it feels intense or effective in the moment.
Just ask Idina Menzel’s critics.
A better approach
A healthy belt is the by-product of even, consistent technique. When your voice is trained well from bottom to top—and you gradually increase your dynamic capacity—a strong, intense upper register is a natural result.
Take-home point: Belting isn’t yelling. A great belt comes from control and conditioning—not force.
Final Thoughts
Each of these myths stems from a seed of truth. Confidence, breath, and power do matter. But focusing on them in isolation—or misunderstanding their role—can lead singers down frustrating paths.
If you want real progress, build technical consistency first. That’s what gives you freedom, confidence, stamina, and power in your singing. Everything else flows from there.