Tag: Tin Matkovic

Quick answer. Most intercepted passes are decided before the ball leaves the stick. The three usual causes are timing, speed and choice. The look came too early or too late, so the picture had already changed. The first touch was slow or too close to the feet, so the pass that was on when the player received it had closed by the time they were ready to play it. Or the player played the pass they had planned rather than the one that was actually there. Fix release speed and the timing of the scan before you rebuild anybody’s technique. And remember that the modern game is dominated by the push and the sweep, so a defence that reads flat, predictable passing is reading you correctly.

That is the short version. Here is how the coaches on The Hockey Site would work through it with you.

The window is about a second, so treat passing as a timing skill. In No overload? Create it! Play a wall pass!, Javi Telechea makes the point that the passer’s job starts before the pass: fix the defender first, commit them, and only then release. The window in which the pass is on lasts about a second. A player who carries for half a second too long is not passing badly, they are passing late, and those two problems have completely different fixes.

A slow first touch closes the pass you wanted. This is the sharpest idea on the subject anywhere on the site. In Boosting Field Hockey IQ, Robert Noall puts it like this: “You can decide what you want to do, but if your technique isn’t at the level, it takes too long, and the door is closed.” Slow feet or a narrow stance on reception does not only cost a touch. It removes options that existed a moment earlier. When you see a player make the safe backward pass, check whether they chose it or whether it was the only one left by the time they were ready.

Get the ball past the feet. Tsoanelo Pholo works to a simple rule in Receive to eliminate: the first touch must go past your feet. She sets a cone a stride ahead and the repetition does not count unless the ball gets beyond it. She is equally direct about movement, saying it is “really difficult to eliminate with a receive when you are static”. The tiny adjusting steps just before the ball arrives are what let a player point their hips and stick where they actually want to play.

Do not marry the pre-scan. Noall separates two things most coaches train as one: the scanning that happens while the ball is travelling, and the decision making that starts the moment it arrives. The players who stand out are the ones willing and technically able to abandon the pass they had planned when the picture changes late. If your players are getting picked off on the pass they clearly decided on three seconds earlier, that is what you are looking at.

Scan timing beats scan frequency. In Eyes Up, Tin Matkovic describes scanning as “mapping and puzzling”, where every look unlocks another part of the pitch. His warning is that a scan taken too early is wasted, because the map is out of date by the time the ball arrives. Counting scans with a clicker tells you how often a player looks. It tells you nothing about whether the look changed anything, and that is the part worth coaching.

Give the scan a job. Matkovic wants players scanning with a purpose, to manipulate a defender, to fake one way and go the other, or to spot a two against one somewhere else on the pitch. The common failure he names is players who scan and then take no action off it, which looks like good habits and produces nothing.

Read what the receiver is offering you. Siegfried Aikman’s way of describing reception is useful to the passer as much as the receiver. A player receiving open, with feet and face towards the opponent’s goal, can always go forward. Semi-open, body to the sideline, gives them a 180 degree view. Closed means they are under pressure and resetting. If you are passing to a closed receiver as though they were open, the interception is yours, not theirs.

Talk when the receiver has not looked. Matkovic’s point here is easy to build into a session. Under sudden pressure the passer often has the better overview, so the passer should be the one calling. Design the help chain deliberately rather than hoping it emerges.

Vary the pass, because the opposition is drilled against the obvious one. Fede Tanuscio makes this the whole argument of Rediscovering the Hit Pass: because almost everything is now a push or a sweep, defences are drilled against flat, two-dimensional passing. His case for the upright hit is not nostalgia, it is that a pass which skips a line is a pass nobody has been trained to intercept. Worth a thought if your side is being read.

Praise the decision, not the outcome. Noall is firm on this and it is the cheapest change on the list. A player whose good pass gets intercepted by a fine defensive read has not made a mistake. If you coach the outcome, you will train the ambition out of them within a season, and they will start choosing the backward pass on purpose.

None of this is a drill you can run tomorrow and be finished with. What these coaches give you is a way of watching the moment, so that the next time a pass is intercepted you can tell whether it was the timing, the touch, the choice or the look that failed. Watch the sessions in full, take what fits your players, and work it out with them.

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Boosting Field Hockey IQ

Robert Noall
Boosting Field Hockey IQ

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Eyes Up: coaching pre-scanning

Tin Matkovic
Eyes Up: coaching pre-scanning

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Receive to eliminate

Tsoanelo Pholo
Receive to eliminate

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Read next: Scan-to-First-Touch Under Pressure, Start with their hands, Winning the Second Pass.

More coaching questions: How do I coach a soft first touch in field hockey?, How do I coach the hit so players get power without lifting or fouling?, How do I get my team building out from the back without turning it over?, How do we beat a press in field hockey, especially off free hits and 16s?. All of them are in Field Hockey Coaching Questions.

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Quick answer. Start by defining what beating a defender means, because most players are aiming at the wrong thing. Tsoanelo Pholo’s version is getting beyond the advantage line: if I am in front of you, do you get behind my hip line? Then work in order, because most failed one on ones are a ball-position problem rather than a skill problem. Robert Noall’s sequence is ball position first, acceleration second, the move last, and he goes as far as saying that when the first two are right you often need no move at all, because the speed has already beaten the defender. Teach players to slow down before they speed up, since decelerating is what commits a defender. And treat the elimination as the start of something, not the end of it. A player who beats their opponent and then runs back into them has not gained anything.

That is the short version. Here is how the coaches on The Hockey Site would build it with you.

Change what the one on one is for. In How to train 1v1 in game situations, Robert Noall reframes the whole thing: “you’re not playing one against one to beat an opponent. You’re playing one against one to create an overload.” That takes the duel out of the world of tricks and puts it back into team play, and it gives you something to look for in a session other than whether it looked good.

Then give them a definition they can measure. In How to train 1v1 elimination, Tsoanelo Pholo puts it like this: “I call it getting beyond the advantage line, which is, if you’re in front of me, if I look at your hip line, do I get to get behind you? That for me is an elimination.” It sounds like a technicality and it changes what players chase. They stop hunting the highlight-reel move and start aiming at something they can see themselves achieve, and you can count it.

Slow to attract, fast to eliminate. That is Pholo’s phrase and it is the most useful sentence on this page. Her argument is that everyone assumes elimination is about acceleration and being quick, and that this is backwards: “if we are not slow to attract the defender to want to try win the ball, you’re going to be running at one pace and the defender will not come into the zone that you want them to come into”. The deception is in the slowing down. “The acceleration can only come if you’ve slowed down enough for the defender.” Noall describes the same move from the other side, a player who deliberately slows his run so the defender slows with him, and only then reaccelerates. Andrew Wilson arrives at the same place from the other direction in Running with the ball, saying of a naturally quick player: “I would first teach her to slow down because knowing how to use your speed and when to use your speed will be her superpower.”

Fix the ball position before you teach a single move. Noall breaks the one on one into three phases and insists on the order: ball position, then acceleration, then elimination. He puts the ball at roughly two o’clock, ahead of the feet rather than beside them, because from there a player can attack the space and pass into most of the pitch. With the ball at three or four o’clock they can only pass into a narrow slice of it. He is relaxed about the number itself, saying it can be one o’clock or quarter past three as long as the players know what you mean. Pholo prefers one o’clock, and is clear it is a personal preference: from there, she says, “I can pass behind, I can pass left, I can pass right, I can pass forward.” She is equally clear that three o’clock and even five o’clock are carry positions too. The point is not the number on the clock. It is that the ball is somewhere the player can do more than one thing from. If your players keep losing the duel, check where the ball is before you check what they tried to do with it.

A change of speed is itself an elimination. Noall makes this point and it takes the pressure off players who think they need a trick. His version is blunt: if the ball position and the acceleration are right, “you don’t need to eliminate a player because you’ve already eliminated them due to the speed you are traveling”. One hand on the stick during the acceleration lets them run properly rather than shuffling, and he thinks that one-handed skill is undertrained.

There is more than one way to beat someone. Tin Matkovic lists five in Elimination has many layers: connection, speed, line-skipping, deception and passing. The player who dribbles past everybody exists, he says, but it does not happen that often. Elimination by connection is two players passing around an opponent, so nobody has to win a duel at all. Elimination by speed, in his words, is asking a player “to run outside of the duel and accelerate” rather than back into it. If you have a squad who cannot beat anyone one on one, some of them may not need to.

Eliminate, then accelerate. Russell Coates names the most common wasted elimination in How to Train 3D Elimination Skills: “they’ll have a nice little lift and then they’ll continue to try and go through the defender again”. His cue is to attack space instead of the man, and to lift and then accelerate into the space the lift has just made. Beating someone and then giving them a second chance to tackle you is worse than not beating them at all, because now your team’s shape has moved on without you.

3D belongs in tight space, not everywhere. Coates has the clearest reasoning on why lifting the ball works: the shave, the jab and the block tackle all assume the ball is travelling along the ground. Take it off the deck and the defender’s standard kit stops working. But he is equally clear on when not to: at pace with space in front of you there is no need for it, and a dummy or a drag will do, because lifting the ball is riskier and harder and leaves you regaining control of a bouncing ball. Design games with constrained space rather than telling players to use 3D.

Attack the left foot, but not too close. Fede Tanuscio coaches players to carry at the defender’s left foot deliberately and to run diagonal lines rather than straight at them, since running straight at a defender is an invitation to be intercepted. His purpose is as much about opening up the pass to the left foot as about beating anyone. Matkovic agrees with the cue and adds the caveat coaches skip: go too close to the opponent’s swing and they will simply wipe the ball away. The left foot is a target, not a destination.

Teach them when not to. Noall’s visual cue is a tunnel of open space between the player and the goal with no defender standing in it. If a player can see that tunnel, he wants them to go, every single time. Matkovic supplies the other half, and it is blunt: “I think the magic is off ball work.” A whole team that can only beat one defender out of three kills the space and kills the tempo, and he does not want a side of ten individuals, because the defender who tries to dribble past five players and loses it has handed you the counter-attack.

How the coaches actually train it. Noall has two rules here and they are worth keeping apart. Use gates rather than cones, because a line of cones makes a player run, stop, perform an action and go again, and “in a match, it does not how it happens”. Separately, do not train isolated one on ones at all, because “an isolated one against one never happens in hockey” — there is always a teammate and always a second defender. Inside the gates he refuses to prescribe the move: “I don’t care how you do it, get through the gates as quick as possible.” Coates runs a battle ladder where the winner stays on as the attacker and the player who loses the ball has to defend, on the grounds that “there’s one thing that attackers don’t like and that’s defending”. Pholo builds a whole session on the same instinct. She starts with players simply moving the ball around over half a pitch, “seven, eight minutes, no coaching at this stage”, after a conversation about what eliminating actually means to them. Then paired duels in a space of roughly four by six metres with no goals, because “it’s not about finishing, this is just about having a duel between the attacker and the defender”. Then, when it goes into a game, the team gets a point or a goal for every successful one on one, which turns the defending side’s job into a challenge rather than a punishment.

Then coach your own behaviour. Noall’s version is a rule for the coach rather than a mindset for the player: “never tell someone they did it wrong if they make a mistake”. Wilson lands in the same place: “if they’re making mistakes, they’re learning… your style of coach has everything to do with their confidence of those players”. A player who has been told off for losing the ball will not try to beat anybody next week, and you will have solved the wrong problem.

None of this is a session you run once. What these coaches give you is a way of seeing the duel, so you can tell whether the ball was in the wrong place, the speed never changed, the move came too early or the player simply had no reason to believe it would work. Watch the sessions in full, take what fits your players, and let them find their own version of it.

Go more in depth here

How to train 1v1 elimination

Tsoanelo Pholo
How to train 1v1 elimination

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How to train 1v1 in game situations

Robert Noall
How to train 1v1 in game situations

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Elimination has many layers

Tin Matkovic
Elimination has many layers

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Read next: The 2v1, Numerical superiority, Show me where you carry the ball and I’ll tell you how good you really are.

More coaching questions: How do I teach the Indian dribble properly in field hockey?, How do I coach a soft first touch in field hockey?, How do I stop my defenders diving in and giving away free hits?, My players are fit but slow to turn. How do I train change of direction?. All of them are in Field Hockey Coaching Questions.

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Quick answer. A soft first touch comes less from “soft hands” drills than from what happens before the ball arrives. Get the player scanning early, receiving with an open body (half turned towards where they want to go), and treating the touch as an action with a purpose: into space, away from pressure, or into protection, rather than a dead stop. Relaxed hands and a low grip help, but they are the finish, not the fix.

That is the short version. Here is why the coaches on The Hockey Site would tell you not to stop there.

The touch is the receipt for a decision made earlier

When a receive falls apart in a match, it usually looks like a technical fault: the ball bounced off the stick. Most of the time it is not. The player scanned too late, arrived square, or had no idea what they were going to do before the ball got to them. Coach the picture, not just the hands. A player who knows where the pressure is and where the safe exit is will take a soft touch almost by accident, because the touch has somewhere to go. That is the thinking behind the On Ball Principles piece, which pulls this apart in detail.

Receiving is the start of the action, not the end of it

This reframe runs through almost every receiving session on the site. A first touch that simply stops the ball is neutral at best. It buys a fraction of a second and often loses it again. A first touch with intent buys time, space, or protection. In his receiving masterclass, Siegfried Aikman pushes players to receive already moving, rarely letting the ball fully settle, so the touch and the next action become one motion. Tsoanelo Pholo takes it a step further in Receive to eliminate: at higher levels the reception itself can beat a defender if the touch and body shape carry the player away from pressure and into a damaging line.

Body shape does more than soft hands ever will

If a player receives square on, they are already late, and no amount of cushioning saves them. Receiving half open, with chest and stick pointed towards where they want to play, gives them options even with an average touch. It is the cheap fix that most coaches under use.

Grip is the quiet detail underneath all of it

You cannot cushion a ball with tense hands and a high grip. The Essential grip skills masterclass makes the case for getting the hands lower and looser to give the stick more give on contact. The point about the left hand matters here too, and Why the left hand matters covers it well: for most players the left hand controls the face of the stick, so a first touch that keeps bouncing up is often a left hand problem, not a concentration problem.

Scanning is what makes the touch look calm

Panic comes from surprise. A player who takes a shoulder check before the ball arrives is not reacting to pressure, they are answering a question they already asked: where is the nearest defender, where is my safe exit, where is my damaging exit. Tin Matkovic builds a whole habit around this, the eyes up idea. The touch looks soft because the brain is not still deciding.

How to actually train it

The thing that does not work is unopposed lines of players cushioning a rolled ball. It looks tidy and transfers to nothing, because there is no picture to read and no decision to make. Small-sided games do the job. They keep producing the same pressure pictures and force the touch under time, without you narrating every rep, something Lisa Letchford shows nicely in Basic skills through small-sided games. A simple version: a small grid, receive under light back pressure, and the rep only counts if the first touch takes the player into space and a purposeful next action. Standing still after the receive means the rep is dead. Widen the grid and allow a safe exit for developing players. Shrink it and demand a damaging exit for stronger ones. Same game, one theme, different standards.

So, before your next session, the honest question is not “how do I get softer hands in my squad.” It is “do my players know what they are going to do before the ball arrives.” Fix the picture and the body shape first, tidy the grip second, and the soft touch tends to look after itself.

Two questions this usually raises

Why does my player’s first touch keep bouncing off the stick?

Usually the hands, not the concentration. Tense hands and a high grip leave the stick nothing to give on contact, so the ball rebounds instead of settling. Drop the hands lower on the shaft, loosen the fingers, and look at the left hand, because for most players that is the hand controlling the face of the stick. The grip masterclass below takes it apart properly.

What is the best drill for receiving under pressure in field hockey?

There probably is not a best drill, but there is a best shape: small-sided games rather than unopposed lines. A small grid, light back pressure, and one rule, the rep only counts if the first touch takes the player into space and a purposeful next action. Widen the grid for developing players, shrink it for stronger ones.

If you want to go deeper, and this is worth thinking through rather than copying, the receiving masterclasses on The Hockey Site show exactly how these coaches build it, session by session.

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Essential grip skills masterclass

Adam Falla & Ross Gilham-Jones
Essential grip skills

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Training technical skills masterclass with Tsoanelo Pholo

Tsoanelo Pholo
Why your best players still need the basics

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Balancing skill gaps masterclass with Tin Matkovic

Tin Matkovic
Balancing skill gaps

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Read next: On Ball Principles, The 3-second decision framework for receiving under pressure, Scan-to-first-touch under pressure, Receiving on the move.

More coaching questions: How do I coach the hit so players get power without lifting or fouling?, How do I teach the Indian dribble properly in field hockey?, Why do my passes keep getting intercepted under pressure?, How do I coach players who can’t beat a defender one on one?. All of them are in Field Hockey Coaching Questions.

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Quick answer. Build confidence on the things a player controls, their preparation, effort and response, rather than on the scoreline, and teach the squad to read a mistake as information to act on rather than a verdict on their ability. When belief is anchored to those things, one loose pass is no longer enough to knock it over.

That is a fair starting point, but the coaches on The Hockey Site would tell you not to stop there, because confidence that lasts is trained on the pitch long before the mistake ever happens.

Start by separating confidence from results. Performance psychologist Katie Warriner, in her masterclass Confidence: a choice and a skill, frames confidence not as something a player is simply born with but as a choice and a skill that can be trained. If a player’s belief rises and falls with the scoreboard, a single error is all it takes to topple it. Warriner keeps the working definition simple: confidence is the honest answer to the question “can I do this?” The coaching task is to help players build that yes on ground that one mistake cannot wash away.

Normalise doubt instead of trying to ban it. Warriner is clear that confidence is not the absence of doubt, and that even the best players in the world carry it into big moments. Seen that way, a player who wobbles after a mistake is not broken, they are behaving like every performer does. When a squad is told plainly that nerves and doubts are a normal part of playing, a mistake stops being proof that “I should not be out here” and becomes a passing feeling that will pass. Pretending doubt away usually just makes it louder.

Reframe the mistake as information. Tin Matkovic, in Practical Approaches to Building Mental Toughness in Field Hockey Teams, keeps returning to one line from his own relegation run-in: every mistake is information. A turnover tells you something about a decision, a body position or a habit. Players who learn to read errors that way spend less energy on shame and more on the next action. Matkovic is candid that when results turn, players start to doubt and question the plan, which is exactly the moment when that reframe earns its keep.

Give players a plan they can fall back on. Part of what steadies Matkovic’s teams in the chaotic closing minutes is that the answers are, in his words, already pre-dealt. Players have rehearsed what to do in the situations that tend to come up, so under pressure they recognise the picture and act rather than freeze. Confidence that survives a mistake is often less about positive thinking and more about knowing there is a clear next job to do. A defined role and an obvious next action give a rattled player somewhere useful to put their attention.

Coach the response, not only the outcome. The Hockey Site piece Success and failure are both impostors, drawing on lessons from Coach K and several field hockey experts, argues that neither the good moment nor the bad one is the whole story, and that what matters is how a player approaches what comes next. If you only praise outcomes, you quietly teach players that their worth equals the result. Praising the response instead, the recovery run, the honest hands up, the quick reset after a lost ball, tells players that the thing you value is something they can repeat regardless of how the last action went.

Watch the language on the sideline. Confidence tends to collapse when the loudest voice after an error is a critical one. Coaches set the emotional tone of a team, and what gets noticed gets repeated. If mistakes are met with a groan while good recoveries pass without a word, players quietly learn to fear the ball and to hide in the safe option. Matkovic’s view that setbacks are opportunities to improve only holds true if the training and matchday environment actually treats them that way.

Build the bank before the pressure arrives. Because Warriner treats confidence as a trainable skill rather than a mood, it follows that it is built in the ordinary weeks, not summoned on matchday. Reps that stretch players just beyond comfort, honest feedback, and small wins that a player can point to all top up a store of belief they can draw on when a mistake comes. A player with that bank behind them can lose a ball and still trust that they belong, because their confidence was never resting on that one moment in the first place.

None of this is a script to copy and paste. It is a set of ideas to think through for your own group, your own age band and your own season, and the masterclasses below are where the coaches unpack them properly, with the messy real examples that make them usable.

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Confidence: a choice and a skill

Katie Warriner
Confidence: a choice and a skill

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Practical Approaches to Building Mental Toughness in Field Hockey Teams

Tin Matkovic
Practical Approaches to Building Mental Toughness in Field Hockey Teams

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Success and failure are both impostors

The Hockey Site
Success and failure are both impostors

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Read next: Pressure is a matter of perception, Result vs process, The 4 most powerful words in talent development: “I believe in you”

More coaching questions: How do I help a field hockey player let go of a mistake and reset?, How do I motivate field hockey players who have checked out?, How do I keep juniors coming back without letting the standards slide?, How do I coach players who can’t beat a defender one on one?. All of them are in Field Hockey Coaching Questions.

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Quick answer. Give the player a short two-part reset they can run on the pitch: a physical anchor such as gripping the stick and taking one slow breath, paired with a cue word, then a deliberate return to the next action. It works because it buys the thinking part of the brain a few seconds to come back online. Pair it with a simple reframe, that a mistake is information and not a verdict, so there is nothing left to carry into the next play.

That gets a player through the next thirty seconds. The coaches on The Hockey Site would tell you not to stop there, because the deeper work is changing what a mistake means to that player in the first place, and rehearsing the reset long before the pressure ever arrives.

Build the reset into a few seconds, not a team talk. In her masterclass Confidence: a choice and a skill, Team GB performance psychologist Katie Warriner describes a simple on-field routine for the moment straight after an error. Instead of lashing out at the umpire, a teammate or themselves, the player commits to something small and private: they grip the stick and count from five back to one. No one watching knows it is happening, it takes only a few seconds, and it gives the more logical part of the brain time to come back online so the player can refocus and get on with the next play. Warriner likes to combine that physical anchor with a short cue that references one of the player’s strengths, so the reset settles the body and points the mind somewhere useful.

Understand why one mistake becomes three. Writing for The Hockey Site in Pressure is a matter of perception, Argentine coach Javi Telechea points to the biology underneath it. When we are stressed, he notes, the brain responds more by reflex than by reflection. A player who is still replaying the last error is running on reflex, which is exactly when the loose touch, the rushed pass and the mistimed tackle tend to arrive. Seen that way, the reset is not a nicety. It is the thing that interrupts the reflex loop before it snowballs.

Change what the mistake means. Tin Matkovic builds his whole approach in Practical Approaches to Building Mental Toughness in Field Hockey Teams around a single line: every mistake is information. A shaky pass, a turnover, a goal conceded, none of it is a verdict on the player, and none of it is ammunition for blame. It is data that feeds the next decision. When a player genuinely believes that, letting go stops being an act of willpower, because there is nothing shameful left to hold on to.

Anchor confidence to process, not the last result. Warriner’s central idea is that confidence is a choice and a skill rather than a fixed trait you either have or you do not. Part of training it is deciding to measure success by the things inside the player’s control, their preparation and the actions they can execute, rather than by outcomes such as the scoreline or a clean sheet. A player whose confidence is anchored there has far less to lose from any single error, which is precisely what makes the reset land more easily in the moment.

Two players can meet the same moment very differently. Telechea illustrates this with two versions of one situation, where a centre-back receives the ball as an opponent sprints in to press. In the first, the player is afraid, the touch is poor and the ball is lost. In the second, the same pressure arrives, but the player sizes it up, eliminates the forward with the first touch and breaks the next line. The pressure did not change; the player’s reading of it did. Helping a player reset is partly helping them see the next ball as a problem to solve rather than a threat to survive.

Rehearse the reset before you need it. Matkovic argues that resilience sits closer to preparation than to personality. If players have already lived through chaotic, high-pressure moments in training, complete with the odd mistake, they recognise the feeling on match day and act, rather than freeze and hope. Practising the reset routine in training, so it is close to automatic by the time it matters, follows the same logic. He would add that you should keep the messaging simple and keep it pointed at the process.

Let the reset belong to the player. Part of what makes Warriner’s five-to-one count effective is that it is invisible and self-directed. The player owns it and can trigger it without waiting for the coach or a stoppage. That matters, because the moments that snowball are usually the ones where nobody is there to talk the player down. A reset the player can run themselves, tied to a cue only they know, travels with them into exactly the situations where it is needed most.

Protect the environment around the mistake. Telechea is blunt that players can only learn to live with error if they are not afraid of being scolded for it. Where a coach’s reaction adds fear, the reflex brain takes over and the snowball grows. He goes as far as laughing at mistakes together so they can be learned from, and celebrating the small wins along the way. Your touchline reaction in the two seconds after an error does as much to help a player reset as any routine you teach them.

None of this is a script you hand over once and forget. The coaches on The Hockey Site treat the reset, the reframe and the environment as things you build across a whole season, and each of these masterclasses goes far deeper than one habit. They are worth sitting with as you decide how you want your players to meet their next mistake.

Go more in depth here

Confidence: a choice and a skill

Katie Warriner
Confidence: a choice and a skill

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Practical Approaches to Building Mental Toughness in Field Hockey Teams

Tin Matkovic
Practical Approaches to Building Mental Toughness in Field Hockey Teams

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Pressure is a matter of perception

Javi Telechea
Pressure is a matter of perception

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Read next: Success and failure are both impostors, Result vs Process, The power of a clean ego.

More coaching questions: How do I build confidence in field hockey players that survives mistakes?, How do I motivate field hockey players who have checked out?, Why do my passes keep getting intercepted under pressure?, What is the best field hockey warm-up to get game-ready and cut injuries?. All of them are in Field Hockey Coaching Questions.

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Quick answer. A player who has checked out is rarely just lazy. More often the environment has stopped giving them a reason to invest, so start there. Hand ownership of their development back to them, make sessions meaningful and genuinely enjoyable rather than merely busy, and show real belief in what they can become. Effort tends to follow when a player feels responsible, trusted and glad to be on the pitch.

That is the surface answer, but the coaches featured on The Hockey Site would tell you not to stop at running the group harder or having a quiet word on the side. The more useful question is why the investment has drained away in the first place.

Coasting is usually a signal, not a character flaw. In his masterclass on Coachability, New Zealand’s Shea McAleese argues that coachability is not a personality trait but a decision about who is responsible for your own development. Players who coast, he suggests, often have not yet learned to look in the mirror, because for a long time it was easier to make progress someone else’s job. Treating the behaviour as information about ownership, rather than proof of a bad attitude, changes what you do next.

Hand responsibility back rather than fixing everything for them. McAleese warns that quietly solving every problem for an athlete can hold them back, because it teaches them to wait for the answer. He describes small habits that flip the load onto the player: asking them to explain a point back to the group, putting them on the spot to coach a teammate, and getting clear buy-in early. Align with your leaders and key players first, he suggests, and that ownership filters down and speeds up across the squad.

Protect enjoyment, because it is the engine and not the reward. The Hockey Site article Fun lights the fire treats enjoyment as a performance variable rather than a reward for good behaviour. A squad that wants to be at training will chase more, risk more and stay longer than one turning up out of obligation, and that gap shows up in how quickly they improve. A positive, loose atmosphere widens attention and improves decision making, while a tight, fearful one narrows both. Enjoyment is not the soft option. It is one of the levers that decides how fast a group develops, and its absence is often the first thing a disengaged player is reacting to.

Design sessions that mean something, not just sessions that keep people busy. In his masterclass on feedback and learning environments, Andreu Enrich argues that the difference between a busy session and an engaging one is intentionality. Design the session around the specific behaviours you want to see, then build the conditions where those behaviours emerge naturally. When players understand why they are doing something, and can feel the connection between the drill and the real game, engagement becomes close to automatic. Small-sided games are one dependable route there, active by design and full of touches, decisions and natural pressure.

Belief changes what a player is willing to give. The masterclass on The Pygmalion Effect, with Andreu Enrich and Australia’s Ric Charlesworth, explores how a coach’s expectations quietly shape performance. Raise the bar and show a player you believe in what they can do, and they tend to rise to meet it. Expect little, and they tend to shrink to fit. For someone who has drifted to the edges of the group, being told clearly and honestly that you see more in them can be the intervention that reopens the door.

Confidence is a behaviour a player can choose, not just a mood they wait for. Performance psychologist Katie Warriner, in her masterclass Confidence: a choice and a skill, points out that behaviours are far more within our control than feelings, and the feelings often arrive after the behaviour rather than before it. With a checked-out player that reframes the ask. Rather than waiting for motivation to return on its own, invite the behaviour first, the communication, the body language, the willingness to have a go, and let the feeling catch up.

Your own energy sets the tone before you say a word. In his masterclass on emotions, energy and engagement in team talks, Mati Vila makes the point that the energy a coach brings is itself the message. Players read your state before they process a single instruction, so if you go through the motions, they will too. Tin Matkovic, in his masterclass on fostering creative players, adds that playfulness is the engine of creative play, but it has to be fuelled by a coach who is still genuinely curious. Bring something real to the pitch and the room shifts with you.

Lean on culture for the players your words cannot reach. Not every disengaged player responds to a one-to-one conversation. McAleese notes that a truly coachable group is built when senior players hold the standard and younger ones are expected to contribute in small group meetings before the whole squad gathers. When the environment itself keeps pulling people back in, you are no longer the only source of motivation in the room. That is slower to build than a rousing speech, but far more durable.

None of this is a script to run. These are starting points from coaches who have worked at the very top of the game, offered so you can test them against the group actually in front of you and keep what fits. The masterclasses below go a good deal deeper than any single article can, and they are worth an evening of your thinking time.

Go more in depth here

Coachability

Shea McAleese
Coachability

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Fun lights the fire

The Hockey Site
Fun lights the fire

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Emotions, Energy, and Engagement: Building Better Team Talks

Mati Vila
Emotions, Energy, and Engagement: Building Better Team Talks

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Read next: Team. Trust. Culture., Connections Before Tactics, The 4 most powerful words in talent development: “I believe in you”

More coaching questions: How do I build confidence in field hockey players that survives mistakes?, How do I help a field hockey player let go of a mistake and reset?, How often should my players train before I’m overcooking them?, How do I keep juniors coming back without letting the standards slide?. All of them are in Field Hockey Coaching Questions.

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