The Ultra Performance Musician: Lessons from Record Breaking Runner CJ Albertson

Photo credit: Connor Nolen

CJ Albertson has become a household name in the running world, famous for his innovative tactics and a training schedule that would leave many athletes exhausted. But his true advantage might not be found in his weekly mileage, but rather in his psychological approach. Albertson has developed techniques for performance that are as much about mental relaxation as they are about physical endurance.

Albertson’s approach is backed by serious running and coaching credentials. He balances an athletic and academic career, competing professionally for Brooks while coaching cross country and teaching physical education at Clovis Community College in California. He holds the 50 km road world record, finished 5th at the U.S. Olympic Trials, and ran a 2:08:17 at the Chicago Marathon. He is also known for breaking physiological boundaries, including a world-record breaking indoor marathon and a 2:09 performance on a treadmill.

I catch Albertson by phone and am instantly struck by his warmth, generosity of spirit, and effective training approach. His approach to racing and training translates well for musicians and I left the conversation with new ideas on mental outlook, preparation, and breathing.

Central Governor Theory

Most runners view the onset of pain as a warning, a signal that the body is approaching a danger point. Albertson sees it differently. He talks with me about the Central Governor Theory, which suggests that the brain protects the organism by creating the sensation of fatigue long before the body is actually at its physical limit.

This idea was first developed by Tim Noakes, a South African physiologist. Through a series of experiments, Noakes proved that when athletes were put in oxygen-deficient or extreme conditions, they would slow their effort as a safety mechanism to protect against bodily damage. While this is an important evolutionary function for preserving health, it shows that fear can often limit us from reaching our true potential.

By repeatedly leaning into that discomfort during training, Albertson has essentially re-calibrated his brain's warning systems. He has become accustomed to sustained effort to the point where the rigors of a race no longer cause him extraneous stress. As Albertson puts it, “I’ve raced enough now that I enjoy all the emotions associated with races...I really like that feeling so I don’t ‘have to’ handle it, I just 'get to' experience it.” He approaches challenges with a sense of curiosity rather than fear, which allows him to manage the pain objectively rather than emotionally.

This retraining of the nervous system can help athletes and musicians take their craft to a new place. Albertson notes that every time you willingly step past that artificial comfort zone, you push the boundary back a little further:

Maybe next time you train, the brain will let you do a little bit more before it starts sending all those pain signals. So part of it is just pushing yourself to do things you haven't done before. And then you realize that nothing catastrophic happens and your brain is more likely to just let you do it easier the next time.

This has an important corollary for musicians, who face fear as a limiting factor for success. While we don’t want to ever push ourselves to injury or pain; we often fall short of pushing ourselves enough in our practice or taking chances in performance. When we realize that fear is hardwired into the brain as an important defense mechanism, we can take steps to overcome our limitations and go further with our preparation and delivery in the concert hall.

It is important to note that I’m not suggesting pushing through physical pain, which can lead to musician injuries. But rather to be willing to embrace boredom or discomfort in preparation and a willingness take more chances on stage.

Freedom in Performance after Mindful Preparation

There is a fascinating contradiction in how Albertson handles the technical side of running. While he is very technical in his training, focusing on form, breathing, and efficiency, he believes that race day requires a certain level of mindlessness. In his view, focusing too much on your stride or your breathing during a race creates an excessive cognitive load that can actually hinder performance. He believes that the time for refinement is in the months leading up to the event. Once the race begins, Albertson relies entirely on muscle memory.

Reflecting on the rhythmic nature of high-effort running, he notes, “There’s just something about [running] that is relaxing but also allows you to push hard. And so I don’t have to think about anything, I just get the physical act of running hard and fast.” By shifting his awareness more to the background, he enters a relaxed state where his thoughts are minimal, making a challenging pace feel more effortless.

To be able to reach this transcendence requires Albertson, and also classical musicians, to concentrate on form and preparation assiduously while training. For musicians, this translates to incorporating good habits into daily practice as much as possible. In this way, we can seamlessly integrate proper fundamentals into musical performance without limitations on stage.

Relaxed and Efficient Breathing

Albertson approaches breathing mechanics the same way he looks at running form: it is a skill you have to actively perfect before the big event so it can become second nature. He points out that during a race, you cannot constantly micromanage your lungs, but you can build in “moments every few miles where you check in with your breathing” to make sure your technique hasn't broken down. Recently, he has been researching how proper respiratory mechanics function, emphasizing that true efficiency requires the ribs to move freely and “expand in all directions.”

He pushes back against the misconception that breathing through the diaphragm just means shoving your stomach out. Instead, Albertson focuses on mobilizing the rib cage, noting that when he looks at his own athletes, sometimes they “have no movement below their upper rib.” Because their ribs stay rigid, they miss out on full lung expansion. He compares this restriction to running with locked-up hips, saying, “just as loosening the hip joint unlocks the glutes and extends your stride, freeing up the ribs allows you to breathe more efficiently.”

In an orchestra, we can also become so rigid that we forget to move our ribs when breathing and to keep fluent and efficient motion in our performing. This rigidity can inhibit our breathing, but can also add unnecessary tension in many parts of our body. The result is inefficient and unenjoyable performances, as well as eventual performance injuries.

Finding Calm

One of Albertson’s most impressive skills is his ability to find total relaxation while under extreme pressure. In a marathon or any long-distance running, efficiency is everything, and physical tension can hinder efficiency. Albertson has focused on racing with a low perceived effort, even when the intensity is high.

When things go wrong, some runners can fixate on the problem, which drains them of the mental energy they need to finish. Albertson’s strategy is to stay grounded, not believing the marathon should be a mysterious mix of highs and lows. “I don't know why people have such a variation in the marathon,” he said. “In my mind, it seems like a race that you should be more consistent in.” He manages distractions by refusing to give them space, keeping his mental boundaries firm.

Albertson’s words about mental focus remind me of what other athletes have referred to in the Ultra Performance Musician series as the “moment of intent,” when we reach a clarity and stillness to execute a rewarding musical performance. This is akin to the breath before a freedive or, in our case, a big solo. Archers must find that quiet and steadiness before they release and climbers before a big move. By embracing Albertson’s idea of not giving into fear, we can transcend many of our unnecessary limitations.

Staying Present

Albertson’s philosophy is a lesson for musicians in staying present. He focuses on running against his own mental limits, not external pressures. He has learned that the secret to effective performance isn't just about how much you can suffer, but about how much you can relax within that suffering. He reminds us that to become an elite performer, whether as an athlete or musician, the most important place to train is in your own mind.

 Photo credit: Connor Nolen