Music Performance Anxiety (MPA) is a common experience for musicians of all ages and levels of expertise. With wide-ranging manifestations, it can distress the musician, affect their performance success, and result in lost opportunities or attrition from the field (van Kemenade et al., 1995; Ryan & Andrews, 2021; Weidemann et al., 2022). Researchers have long been interested in factors that may exacerbate or mitigate MPA (e.g., Biascutti & Concina, 2014; Fishbein et al., 1988; Miller & Cheskey, 2004;Ryan & Andrews, 2009 ). One internal factor is self-efficacy (MacAfee, 2021; Cui, Xie, & Yin, 2024), which may be strengthened through clear, successful outcomes that challenge self-doubt and reinforce confidence (Bandura, 1997). Such “mastery evidence,” may be supported through self-recording and reflection (Varela et al., 2014). While potentials for self-recording to improve musical self-concept, as well as self-assessment and self-regulation, have previously been investigated (Suzuki, 2021; Varela, 2014; Zimmerman, 2005; Masaki, 2011), recent qualitative work indicates that it may also reduce MPA (Treinkman, 2025a; b). By allowing for a more objective perspective, Treinkman (2025a; b) found that post-performance rumination, MPA, and catastrophizing were reduced, supporting findings by Nielsen (2018) that link higher MPA with a focus on negative aspects of performance.PurposeIn the current study we undertook a quantitative examination of the impacts of self-recording during real-world performances (auditions) on MPA in collegiate singers. Theoretical LensWe examined the data through the lenses of: 1) Kenny (2009), who applied Barlow’s (2000) emotion-based theory of anxiety to the music performance context, and 2) Bandura (1997) who defined self-efficacy as an individual’s belief in their ability to successfully execute a task. Method Fifty-six collegiate singers auditioning for a musical theatre production completed the Kenny Music Performance Anxiety Inventory in advance of the audition and a Post-Audition Questionnaire following it. Subsequently, each participant was provided with a recording of their performance. After listening, they completed a Post-Listening Questionnaire.Findings and ImplicationsFindings indicate that, after listening, there was a significant reduction in how much participants felt MPA affected their performance. Seventy-eight percent felt more positive about future auditions and 76% thought recording auditions was beneficial. Importantly, 69% of participants did not feel that their university provided adequate support and/or training in coping with MPA. These results warrant further research into the use of self-recording during university-level auditions as a potential tool for improving self-efficacy and supporting mental health. Incorporating the practice of self-recording into university audition settings may be a simple, actionable way for institutions to better support student well-being while also enhancing educational outcomes.