I'm Adam Manus, and I'm Peter Martin, and you're listening to the You'll Hear at Podcast.

Today we're going to teach you how to not overthink.

Very good.

We rehearsed that a couple times.

Yeah, that was good.

That was good.

Okay. So we're going to teach you this

you know just getting back to the beep really quick we do also edit this podcast so i could have

just added a normal beat but i like how you had me fun and minimalist we're still minimalist from

yesterday you know it's good yeah it's good okay, why do we not want to overthink stuff? Because I feel like day after day we're telling them how to think, how to practice, how to think. So maybe this is a little bit of a warning to go along with how to sort of stay in that organic flow that you need to be in to really be able to successfully play this music. It's true. And I think any performing of anything, whether that's music or baseball or

slam poetry, overthinking is really the death nail.

Did I ever say about the time I went to that slam poetry, midnight jam, and I'd been totally

overthinking it all day, man.

Disaster.

I wish I'd heard this podcast. I would have liked to have seen that. Yeah, I froze up, froze up. Well, this is, but this is the thing, right? Like our brains get going. Our brains get going in there. They're giving us all this information and then we usually don't perform our best. So, you know, the idea with, I think, with this episode is to really, hopefully learn some tools and techniques so that we're not

overthinking what we're doing. Yes. And, you know, I think primarily we're talking about

when you're in a performance situation. That's the time to really, it sounds counterintuitive, but to not think

and just feel. You know, if you're doing your practice correctly, you're doing a lot of thinking,

you know, rationalization, very conscious practice during your practice time, you know, methodical,

all the things where you're very engaged. But I really think that when you perform, and in order to be able to get into that space

where you can successfully improvise, you have to not only not overthink stuff, but not think at all.

And, you know, when you're not a real accomplished player, if it's your student or whatever, I'm

...