The Monday shift was in stark contrast. The phone was silent. Mr. Aston browsed the internet to pass the time, made cups of tea, stretched. But then, around 11:30 p.m., an email arrived. It was from an electronic musician experiencing a host of problems including anxiety and depression.
“It’s a huge step for someone just to send that,” Mr. Aston said. “They clearly need to talk.”
He quickly wrote a reply, saying, among other things, they could call anytime. Four hours later, the phone still hadn’t rung. The help line received an average of 25 enquiries a week in December. Some nights are busy, others quiet.
Mental health is a high-profile issue in the music industry, with stars like Zayn Malik talking about anxiety, and the suicides of Chris Cornell of Soundgarden and Chester Bennington of Linkin Park. Yet the Music Minds help line is one of few public initiatives trying to improve matters.
Richard Robinson, Help Musicians’ chief executive, said the idea had been brewing for several years. The “final shove,” he said, came in 2016, when the group commissioned the University of Westminster in London to research mental health issues in the music industry.
Of the roughly 2,200 people, from aspiring violinists to folk singers, who participated in the survey, 71 percent said they had experienced anxiety or panic, and 68.5 percent depression. That compares with a nationwide average of 17 percent of people ages 16 or over having anxiety or depression in Britain, according to the Office of National Statistics. More than half of those in the music industry said they had found it difficult to get help. The report on the survey results is blunt: “Music making is therapeutic, but making a career out of music is destructive.”
Other studies have shown similar numbers. In 2016, researchers in Norway found that musicians there were three times more likely to be in therapy than the general work force.
“I think it’s a unique environment,” Mr. Robinson said. “Someone who’s putting their creative brain on show is saying, ‘Look, I can either succeed or fail here.’ And it’s horrific.”
The daily calls to the help line show it is needed, he added. Calls from electronic musicians, composers and people in music theater have dominated so far.
It is easy to find musicians who welcome such efforts. “I’m totally fine to admit I’ve rung Samaritans before,” said Matthew Johnson, the frontman of the Leeds-based rock band Hookworms, referring to Britain’s best-known suicide-prevention hotline. “The problem I’ve had is, when I’ve tried to explain my problems, and I’ve had it with therapists too, they say, ‘Oh, your life must be wonderful.’ They don’t particularly understand the pressures you might be under.”
Credit Andrew Testa for The New York Times
Mr. Johnson has had depression, on and off, since he was a teenager. Being a musician has sometimes made things worse, he said, even though Hookworms has released two critically acclaimed albums. The profession comes with financial precariousness, but he said he also hated being onstage, and found coping with reviews and online sniping difficult.
“I found myself the other day looking through YouTube comments, and I found one — one! — where someone said they didn’t like it,” Mr. Johnson said, referring to their latest single. “That’s the one I’ll take to heart. I’ll ignore all the ones saying it’s brilliant.”
The artist says he feels lucky that his band signed with Domino, a London-based label that he said had been supportive. “When I feel bad, they always reach out to check I’m O.K. They’ve gone out of their way to move stuff, cancel stuff.”
“If our record absolutely tanked, I don’t think they’d stop supporting us,” he added. “I’ve seen it with friends who’ve made one record on a big label then been dropped, and they’ve totally spiraled to a terrible place.”
None of the large record labels contacted for this article would comment on the industry’s actions on mental health.
“The help line is great, but it is not the total solution in any shape or form,” said Sally Gross of the University of Westminster, who conducted the survey for Help Musicians. “Mental health is very much a hot topic, and everyone’s saying they’re doing something about it. I don’t know what that is though.”
It is not just the music industry that needs to act, she added. Mental health services require increased government funding, she said, and there is a need for better education on the realities of life as a musician.
Musicians themselves are calling for more action. “Football clubs have someone attached to them to deal with all forms of health of their players,” said Neil Barnes, better known as Leftfield, a dance act who have had several platinum albums. “I think that record companies should employ therapists as part of their payroll, to offer that service to bands.”
Mr. Barnes has long had depression, and found it worsened after the band split up, in 2002, and later when he was under pressure to write new music. He was lucky to be able to afford private therapy, he added.
The help lines, though, are an important first step. Mr. Robinson, the Help Musicians chief executive, urged the global music industry to support the Music Minds Matter endeavor or replicate it.
“Mental health is clearly becoming a much talked about subject, but we need to make sure it doesn’t become a cause celebre or a fad,” he said. “We are losing people.”